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CQEXRJGHT DEPOSm 



APPLIED GRAPHOLOGY 

A Textbook on Character Analysis 
r r om Handwriting 

For the Practical Use of the Expert, the Student, and the Layman 
Arranged in Form for Ready Reference 

To which is added an Appendix containing a Complete Compilation 

of the Qualifications, Traits, Habits, and Propensities 

of Individuals, with Definitions and 

Graphological Interpretations 

Illustrated with over JOO Specimens 



By 
Albert J, Smith 

Graphologist 




THE GREGG PUBLISHING COMPANY 

NEW YORK CHICAGO BOSTON SAN FRANCISCO 
LONDON 



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Copyright, 1920. by The 

Gregg Publishing Company 

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GRAPHOLOGY 111 



TABLE OF CONTENTS 

Preface v 

Introduction I 

Rules for the Student 4 

The Elements of Graphology 7 

Features and Terms Used in Handwriting 8 

The General Features: 

Style: Angular, Round, Combination Writing 8 

Slope: Forward, Vertical, Backhand 10 

Size: Small, Medium, Large Writing 11 

Stroke: Heavy, Fine, Muddy, Shaded 14 

Form: Copperplate, Conventional, Inartistic, Ornate 18 

Speed: Hasty, Slow, Uneven, Uniform 20 

Spacing: Crowded, Compressed, Diffused, Well Spaced, Not Well 

Spaced 24 

Lines: Straight, Ascending, Descending, Irregular 27 

Margins: Right, Left 33 

Terminals: Abrupt, Outward, Upward, Downward 35 

Punctuation: Carefully, Carelessly, Absence of, Dashes, Words Under- 
scored 37 

Capitals: Large — Ornamented — Incurved — Plain — Heavily made — 

When print-like — Too large — Too small — Slender — Capitals M and N 40 
Signatures: When plainly written — When dissimilar to text — When 
smaller than body — When larger than body — When backhand, body 
forward — When forward, body backhand — With complicated flourishes 
— Elaborate flourish — With underlined stroke — Underscored with 
flourish — Underscore is thick straight line — Underscore is two straight 
lines — Lnderscored with curved lines — Underscore ending with hook — 
Underscore beginning and ending with hook — Underscore is vertical 
zig-zag lines — When enclosed with sweeping stroke — Lack of flourish 
— Flourish at top — Wavy curved flourish — Period or dash after 
signature 47 

The Special Features: 

Abducent and Adducent Writing 50 

Connected, Disconnected Letters 51 



IV G R A l'HOLOGY 

Increasing, Decreasing, Variable Size of Letters 54 

Touched up Letters 55 

Initial Strokes: Letters begin with initial stroke —Begin with little tick — 
With hook -With curved or fancy stroke— With inflexible stroke ... 56 

Muddy Writing 57 

Small Letters Pointed at Top; Small Letters Rounded at Top 57 

Divergent Letters 58 

Loop Letters: When more developed above than below line — When 
more developed below than above line -When well developed above 
and below — When long and extending to line below — When lower 
upstrokes curve well to left -When long and rounded— When inflated — 
When made stroke — When stroke is heavy — / loop very round and 
inflated—/ with return stroke to left—/ with lower part stroke, not 
looped — / looped to right — g made like figure 8 — g made with lower 
loop triangle — ; g ending in stroki — g return stroke to right — g very 
long loops -y with flourish within loop — Lower loop triangle — Ending 

in Btroke -Return stroke to right 58 

Individual Small Letters: 

a, 0, d, g, when open at top — When closed at top — When tops are 

loo|>cd — When open at base 64 

/> — When incurved —When without loop — When beginning with 

tiny hook 65 

d — When made with high stem — With short stem — The Greek form- 
When final stroke curves upward — When curved upward and back- 
ward — When curved upward and back, joining the succeeding letter — 
When cursed upward and to right — When curved upward and ending 
in spiral curl — When stem is looped — When stem is inflated — When 
final stroke ends below the line — When the stem is divided at base — 

When stem is pointed 66 

e — When in the Greek form 70 

• — Wlien undotted — (7 included) — When the dot is at right — When 
the dot is high to right — When dot is at left — When dot is close to stem 
— When dot is lightly made — When dot is heavily made — When dots 

are made like small circles — When dashes are used for dots 70 

m and n — When made like u< and u 74 

When not written like w and u 74 

p — When lower loop is long and sweeps up on left of letter — When 
long above and short below — When short above and long below — 

When lower point is sharp and upstroke is on right of stem 74 

5 — When the finish of the letter is tied to the upstroke 75 

t — When the stem is carefully crossed — When heavily crossed — 
WTien weakly crossed — When bar is to right of stem — When to the 
left — When bar ascends — When bar descends — When final stroke 



GRAPHOLOGY 



is below the line — When the crossing is in form of a triangle — 
When the stem is looped — When the stem is pointed — When the 
stem is open at the base — When bar is high above stem — When the 
stem is uncrossed — When crossing is made with angular final upstroke — 
When the bar is irregular — When the bar is thick and regular — When 
the bar is long and fine — When the bar crosses several letters — When 
the bar is thicker at finish than at start — When sometimes long, other 
times short — When the bar flies into the next word — When the bar is 
made stronger than the stem — When the bar is crushed down on the 
stem — When the bar is very long and strong — When the bar is club 
shaped — When the bar is spear shaped — When the bar is made like a 
bow, with ends downwards — When bar is made like a bow, with ends 
upward — When bar is wavy — When bar is arrow-like — When bar is 
dot-like — When bar is scroll shape — W r hen bar is pointed at finish — 
When bar ends with hook — When bar is like whip-lash — When bar is 
flourished— When bar is substituted by looped triangle low down on 

stem — when the crossing is made triangle, high up on stem 76 

A Specimen Analysis 86 

Signatures of Distinguished Persons 91 

Signatures of Men More or Less in the Public Eye 93 

Signatures of Musical Celebrities 95 

Signatures of Prominent Actors, Actresses, Musicians 98 

Signatures of Representative Vaudeville Artists 100 

Anomalies of Handwriting: 

Abnormally Large Handwritings 105 

Handwritings of Misfit Bookkeepers 107 

Insanity and its Variations 11 1 

Crooks, Thieves, and Degenerates 115 

A Specimen of Illiterate Handwriting 116 

How Writing Developed from Pictures 118 

Chinese Writing 5000 Years Ago 119 

The Signature of "Bluebeard" 120 

The Signature of Napoleon 120 

Picture Writing up to date 121 

Early Babylonian Script 122 

Record of an Analysis of Handwriting 123 

PART II 

Appendix: Foreword 125 

Alphabetical arrangement of the Qualifications, Traits, Habits, and 
Propensities of Individuals with Definitions and (iraphological Inter- 
pretations 126 



GRAPHOLOGY Vll 



PREFACE 

"The French scholar Lemaire, once said, in discussing the 
possibilities of graphology: "It is a profound mistake to sup- 
pose that everything has been discovered; it is the same as to 
consider the horizon to be the boundary of the world." 

When I began analyzing character from handwriting more 
than twenty years ago, I had to contend with cases where clients 
questioned the correctness of my analyses. A careful investi- 
gation convinced me that the erroneous conclusions were based 
on an incorrect understanding of the terms used to express the 
shade of meaning intended. Had these critics acquired a better 
knowledge of definitions, their criticisms would have been 
unnecessary. 

These experiences inspired me to write this book. 

All graphologists aim to use definite terms to express the 
shade of meaning intended, fitting generic or denotative expres- 
sions to the particular requirement of the case. 

The skilled graphologist, with a keen understanding of defini- 
tions, will write his delineations in cheerful and pleasing terms, 
and will avoid all stinging references, to soothe sensitive minds, 
even though they may be justified. The analyst who ad- 
heres to the truism: "to be interesting, one must tell the truth 
audaciously," may find it more expedient to be less frank, if he 
would retain the good will of sensitive clients. 

This book has been written with especial consideration for the 
student and the business executive. The manner of expression 
is left optional with those who prefer a modification of terms, 
without detracting from its effective purpose. 

The habits, traits, and qualifications listed in the appendix, 
have been carefully selected to meet every demand. For each 
there is a corresponding graphological sign. The definitions 
that accompany these terms are authoritative and express the 
proper shade of meaning, from a graphological standpoint. 



viu G R A P li o LOG v 

Unlike most books written on this subject, this volume is 
little more than a handbook or a textbook, with simple rules 
and data that define and explain the science of graphology, 
its relation to the mental processes, and the existing phenom- 
ena of handwriting by which one who has become adept may 
form a fairly correct estimate of the character, propensities, 
and proclivities of individuals, whose aptitudes, tastes, and 
talents are revealed. 

No attempt is made to convert any one to its principles. The 
investigations of scholars for over four hundred years are suffi- 
cient evidence to sustain its claims. The dependability of 
( .raphology rests on its skillful use and proper application. Its 
reliability as an index to character is indisputable, for 
"It is not so much what society believes about it, 
as what society knows about it." 




GRAPHOLOGY 



INTRODUCTION 

A person who is able to write, unconsciously performs this 
function without realizing the mental and physical effort re- 
quired to form the letters or characters which were taught him 
at school. It is a manual operation performed spontaneously, 
without regard for the complex processes of mind, muscle, and 
nerve force involved. 

A person's handwriting is really a part of himself; it becomes 
a habit, a second nature. This is why individuals are, and have 
to be, themselves w r hen they write. Handwriting serves as a 
means for the expression of thought. It is the outward manifes- 
tation of one's personality, and it is fully as characteristic as 
one's manner of walking or tone of voice. 

Investigation and experience have demonstrated that not 
one person in one hundred thousand writes the same style of 
hand he was taught at school, five years after leaving school. 
The reason for this modification of style is that after leaving 
school the individual assumes responsibilities that change his 
mode of thinking, which in the course of his adopted vocation 
make it necessary for him to write hastily with total disregard 
for the tutored style he was taught at school. In a short time 
he drifts away from his school hand entirely, and unconsciously 
begins to write in a manner best suited to his convenience. Wit h 
the development of business training, this variance of style 
becomes fixed, as long as his individuality remains unchanged. 

All features in handwriting are in terpre table. Each reflects 
some trait or quality. As every one has a unique personality, 
so also, does he write differently from every other. This 
suggests the reason why there are no two handwritings exact ly 
alike. Handwriting forms an intimate revelation of the inner 
processes of mental attitudes and emotions; in a word, it con- 
stitutes the expression of one's personality and moods. 

Nature in her wisdom has endowed man with intelligence 
that enables him to give expression to his impulses and emo- 



GRAPHOLOCY 

tions, according to his individuality. These variations of mind- 
impulses provide the individual with the means for expressing 
likes and dislikes, which eventually form habits. These habits 
make character. And thus it is, that by exhibiting these various 
emotions in a greater or less intensity, individual temperaments 
are reflected in handwriting. 

Style of handwriting changes with age. A man at fifty may 
not write the same hand that he did at twenty or thirty years of 
age, and should he live to be eighty or ninety, his chirography 
would in all probability show further indications of change. 
These modifications in the script will indicate that changes in 
the impulses and emotions have occurred. 

No one can successfully disguise his handwriting. When an 
attempt is made to change the style of writing, the slope is the 
first thought that suggests itself as a means for shielding iden- 
tity. Should the normal hand slope to the right, the most likely 
variation will be to write "backhanded,* on the theory that this 
slant is the remotest in appearance from the natural hand. 
This change from the right hand to the backhand may deceive 
the uninformed; it may alter certain unimportant features in 
the writing; but it cannot deceive the expert, because the 
graphological features have not been affected, leaving the 
tell-tale markings. The appearance of the writing may have 
changed — due to the slant of the strokes, but the analysis will 
reveal the same characteristics in the writing, whether written 
with design or to rest the muscles of the hand, thus enabling the 
graphologist to detect the sham. Every natural movement of 
the hand has been recorded, making futile the effort to veil the 
identity of the writer. 

Change of pens will not alter the distinguishing character- 
istics of handwriting, any more than a change of attire will 
change the personality of the writer. Every one instinctively 
choses a style of pen that best suits his convenience in writing, 
and this adopted style of pen enables one to write in a manner 
most natural and with less effort. 



GRAPHOLOGY 



The skill of the graphologist is determined by his ability to 
neutralize the signs ; the purpose being to estimate the strength 
or weakness of a sign. This balance of "credits" will determine 
a fixed habit from one that is occasionally displayed. 

The student should make himself familiar with the elements 
of graphology, in order that he may gain a knowledge of the 
basic principles of the science. Study and commit to memory 
the rules, without which no successful results are possible. At 
the beginning the student will meet with many different speci- 
mens of handwriting, some of which will show conflicting signs. 
If proper weight is given to each sign, by deductive measures 
any conflicting sign may be overcome. 

Before any attempt is made to interpret the character of 
others, the student should practice with specimens of his own 
handwriting, analyzing and delineating from them until he is 
able to check up every phase of his character from the script. 
Advancement may be tried with the handwriting of intimate 
friends, conducting it in the same manner as with your own. 
Further advancement should be tried with the handwritings of 
casual acquaintances, checking up those traits known to you, 
and trying to verify those that are not at once apparent, by 
association or inquiry. But whatever you do, remember that 
no one but yourself is deceived should you undertake to dis- 
count your shortcomings or exaggerate your good qualities. 

The student should be careful to select the proper word to 
express the meaning intended. If you mean accuracy, do not 
use the word precision. Consult the appendix for the definition 
of the word you wish to use; this will give you the shade of 
meaning. Do not credit a person with being religious when you 
should have declared that the writer was spiritually inclined. 
There are no known signs that would imply religiousness unless 
it be one of the characteristics of disconnected letters in writing. 
Use judgment and common sense, and stick to the rules. With 
practice, one may soon become a careful enough analyst for 
all practical purposes. 



GRAPHOLOGY 



RULES FOR THE STUDENT 

Examination of thousands of specimens of handwriting in 
all languages, by masters and students of graphology, sup- 
port the conviction that there are no two handwritings exactly 
alike. In fact, no two agree any more than two personalities 
have the same potential qualities, or two facial expressions 
are alike. There may seem to be similarities, but on recourse 
to an analysis, the similarity is effaced. 

These rules should be carefully committed to memory, as on 
a thorough understanding of them depends the accuracy of a 
delineation. The rule that applies to "neutralizing" the signs, is 
the graphologist's standard. 

RULE No. I. Some handwritings show practically no character, for 
the reason that the character of the writers is quite elementary. 
No more can be deduced from this kind of specimen than the 
specimen reveals, and the student must confine himself to 
what he finds and make no pretense to enlarge upon it, or to 
be influenced by deductions. 

RULE No. 2. An ideal specimen for analysis is one written in black 
ink, on unruled paper, and containing not less than five lines. 
Although much can be often interpreted from a single line, it is 
always best to get all the writing of the person available. 

Rule No. 3. An envelope is not satisfactory for analysis, as it is 
usually addressed with some degree of care. The inscription is 
therefore not spontaneous, and does not show as many signs, 
nor show them as truthfully as a written page. 

Rule No. 4. The finest delineations are made by combining char- 
acteristics, and this is imperative if the work is to be accurate. 
The rule is: If two traits seem to oppose each other find their 
relative strength and from it deduce the resultant charac- 
teristic. 



GRAPHOLOGY 



Rule No. 5. Never read the subject matter of a specimen before 
making the analysis; at the beginning, the student will be 
tempted to do so, and may find it difficult to avoid. The 
tendency is to defeat the purpose and is likely to bias the judg- 
ment or adherence to rule. 

Rule No. 6. Left-handed persons do not write "backhanded" simply 
because they are left-handed. Most left-handed persons can use 
either hand, and write a forward style of chirography with one 
hand as well as with the other; this upsets the general belief 
that left-handed writers pen the backhand because they are 
left-handed. 

Rule No. 7. Distinguished men and women frequently write very 
bad hands. All professional men and women write bad hands. 
The greater the intelligence of a writer, the easier it is to in- 
terpret the writing. 

Rule No. 8. The most difficult specimen of handwriting to analyze, 
is that of the illiterate writer. This rule is nearly akin to Rule 
1. Unless the features are clearly indicated and analyzable, it 
is recommended to limit the delineation to the merest generali- 
ties, using the most marked characteristics in the script, or else 
decline it for analysis altogether. 

Rule No. 9. A sign occasionally displayed indicates an occasional 
trait, and must not be elaborated upon. 

Rule No. 10. Any sign in a specimen may be strong or weak, plen- 
tiful or scarce. 

Rule No. i i. If a letter is given for analysis, the writing on the last 
page will be the most natural. 

Rule No. 12. A sign displayed occasionally, but strongly marked, 
indicates an occasional trait that is evident when aroused 

Rule No. 13. A sign frequently displayed indicates that it is a 
regular trait of the writer. When the sign is frequently dis- 
played and strongly marked, it indicates a strong habit, and 
may be made the subject of positive assurance. 

Rule No. 14. There is no definite rule by which the chirography of 
the sexes can be distinguished, because there is HO sex in mind. 



GRAPHOLOGY 



However, it is usually not difficult to distinguish the sex in 
handwriting, for the writing of women is characteristic, as a 
rule, and is generally recognizable. Modern business training 
has given to women the masculine dash in handwriting, and 
may deceive the student as to the sex. The only advantage in 
knowing the sex of the writer, is that it enables the student to 
give more definite details, with certain modifications for the 
significations of the features according to whether they apply to 
a man or woman. Should it become necessary to know the sex 
of the writer, this information should be frankly asked for at the 
time of taking the specimen for analysis. 

Rule No. 15. The student should provide himself with a small 
magnifying glass H)r examining individual strokes and dots. 



GRAPHOLOGY 



THE ELEMENTS OF GRAPHOLOGY 

These are the basic elements of handwriting, briefly defined 
for the convenience of the student, that he may determine at a 
glance the general significations as an aid to ready analysis. 



The size of writing 

The slope of writing 

The lines of writing 

The shape of writing 

The thickness of the stroke 

The spacing of words and lines 

The speed of writing 

The finals in words 

The capital letters 

The punctuation marks 
Signatures 

Flourishes 
Connected letters 
Disconnected letters 
Down strokes that are firm 
Down strokes that are weak 
Down strokes that are lightly 

made 
Down strokes that are heavy 
Down strokes that are muddy 
Tops of small letters that are 

sharp 
Tops of small letters thai are 

round 
When base line is irregular 
When base line is even 
When base line is wavy 



Signifies details 
Attends the affections 
Denote the spirits 
Determines the intellect 
Relates to the senses 
Determines the breadth of mind 
Is indicative of the energy 
Determine the degree of generosity 
Measure the individual's taste and 

pride 
Relate to the amount of attention, 

care, and culture 
These are the individuals' mark of 

importance 
Indicate superficiality 
Denote logical reasoning 
Denote intuition 
Signify will power 
Signify weak will 
Denote spirituality 

Indicate masterfulness 
Sensuality, materialism 

Keen perception 

Dull perception 
Adaptability 
Menial balance 

Hypoi i i \ 



GRAPHOLOGY 



FEATURES AND TERMS USED IN HANDWRITING 
WITH THEIR SIGNIFICATIONS 

The graphological terms and their indications that appear 
under this caption have been compiled under two classifications, 
the General and the Special Features of handwriting. They are 
repeatedly used throughout this work and should be well 
understood by the student. The General Features of hand- 
writing include- the rudimentary or basic principles of writing, 
which alone are not competent for analysis! The Special 
Features refer to those elements that are interpretable, and to 
which the General Features are subordinate. 

The General Features of handwriting include: style, size, 
form, slope, spacing, lines, strokes, and speed. The Special 
Features include: the down strokes, cross strokes, loops, mar- 
gins, terminals, hooks, and the small letters. The. capitals, 
figures, punctuation, and signatures arc contributing factors, 
having significance only when associated with a written 
specimen; the signature, however, is interpretable when spon- 
taneously written. Signatures are not always reliable material 
for analysis, apart from the text. 

THE GENERAL FEATURES 

STYLE 

Style of handwriting relates specifically to the formation of the 
letters and the manner of placing them on the lines. It considers 
the general appearance of the writing, and has no connection with 
the signs and their analogous traits. Under this classification, are 
included three forms of writing, the angular, the round, and the 
combination of these two styles. As a matter of fact the several fea- 
tures that follow this classification, are, in a greater or less degree, 
expressions of styles to which this section is subordinate. No one 



GRAPHOLOGY 



writes the angular hand from choice; neither is the round hand 
chosen; they are habitual manifestations of individualities, the 
same as lisping or stuttering. A man writes the angular hand be- 
cause his activities of mind and nerve force direct the strokes spon- 
taneously ; this is equally true of the round hand. The combination 
hand is a modification of the nerve functions, which induce a more 
tranquil hand. The angular hand is never written slowly. The 
round hand, when penned fully round, is never written rapidly, but 
the combination hand may be hastily or slowly written. 

Angular Writing 

This style of writing consists of Denotes activity; nervous, quick, 

sharply formed strokes with the tops and energetic disposition. Mental 

and base of each letter pointed. alertness and physical restlessness. 

Round Writing 

The top, and occasionally the base, Denotes construct iveness and order; 
of each letter is rounded, not tastes denoted are mechanical with 
pointed. When the tops of the strength, deliberation, clearness of con- 
small letters are pointed, and the ce P tion ' £ ood Judgment, coolness, 
base is rounded, the writing is ^teadmess, thoughtfulness, and a prac- 

tical, patient, and resolute character 



abducent, having nearly the same 
value as the angular hand. 



exhibited. 



Combination Writing 
The angular hand, tending to the Not naturally industrious; loves peace. 
round, and vice-versa. rest » and enjoyment. Nature more or 

less passive. Little power of resistance. 



I(> 



GRAPHOLOGY 



THE SLOPE 

The slope of handwriting has reference to the declination of the 
down strokes. There are three forms of slope: the right slope, 
that has to do almost entirely with the affections; the vertical, that 
marks an indifference to affection; the backhand, which in a certain 
sense, is a modification of the vertical hand, and always indicates 
cold heartedness. In judging the extent of the slope, the sex of a 

writer should l>e ascertained, for what might be considered as an 

excessive slope in a man's writing might not lie so regarded in a 

woman's. As affection is one of the most universal traits of char- 
acter, tlte great majority of persons slope their writing to the right, 
and as there is no sex in mind, it is obvious that the difference in the 
expression of affection, must be revealed in the impulses, which are 
Stronger in women than in men. Men live more by their head and 
le^s by their heart than women, and these variations of impulse are 
evident in handwriting. The student is warned not to judge the 
backhand writer too hastily, as certain modifications of this style of 
handwriting are taught in libraries for use in indexing and labeling. 
This librarian style is easily distinguishable from the spontaneously- 
written backhand, and must not be confused with it. 




The Forward Slope 

The normal slope in writing is 
about 70 degrees to the right. 
This is the usual slope in all scripts 
of the Teuton and Roman forms of 
writing. 



C^^^t^tA 



(a) A personality in which the emotions, 
feelings and rympathies govern, (b) Al- 
ways susceptible to sentiment and 
largely guided by the impulses. Amen- 
able to the common influences of life. 



z£ 



Zz^k^*>y^ 



When the writing is very sloping. 



Extremely affectionate, generous, and 
self-sacrificing. Inclined to be impul- 
sive, animated, and demonstrative. 



GRAPHOLOGY 



I I 



[nju Vr jujyh t^ c^h^^^S^ 



dUtk tb- 



^v^y^v^- y^ru^i 



Vertical Writing 

The upright or perpendicular 
stroke. 



(a) Judgment and reason enter into all 
motives and actions. Whatever is 
done is tempered with self-restraint 
and deliberation. (6) Slow to move, 
does not arrive at decisions hastily: 
does not like to be hurried, (c) Gener- 
ally determined and obstinate. (d) 
Sincere, constant, and loyal. 



Y» 



£jPV*Wm • »«^C 



*A4«*t 



Backhand Writing 

When all the strokes slant to the 
left. (This classification excludes 
the librarian's backhand, which is 
arbitrary and used for indexing and 
labeling.) 



(a) Reason and self-interest are the 
governing motives. Natural reasoner 
and schemer. Self-conscious nature. 
Seldom does things impulsively; thinks 
first of the consequences, (b) Indicates 
ability in some direction; originality 
and self-reliance, (c) Not charitably 
inclined, (d) Little regard for author- 
ity; aptitude for executive and admin- 
istrative work. Good leader — poor 
follower, (e) Generally quiet and re- 
served nature; does not become enthu- 
siastic or excited. (/) Inclined to be 
artful and insincere; statements are 
not always to be taken seriously, (g) 
If other signs agree, a suspicious nature. 



THE SIZE OF WRITING 

The Size of writing ranges all the way from the almost micros* op- 
ical to the inordinately exaggerated script of the egotist. About one- 
eighth of an inch in height is considered the natural size of writing. 
There are three sizes of writing: The small, the medium, and the 



12 GRAPHOLOGY 



large. What is meant by small refers to the height of the letters, as 
the wideness or narrowness of letters nave a different signification, 
and are discussed under the captions of "Diffused" and "Crowded" 

writings. When the \\ riting is very small, the power of concentration 
is indicated, although some script is so microscopical in size that it is 

almost unreadable, and this smallness indicates stinginess, particu- 
larly so if the words arc close together. Medium sized writing is the 
customary size, and to gain any intelligent deductions from it, one 
must look to the Other signs for the explanation of the script, for, 
alone, this si/e lias very little meaning, no more than one would 
expert from any ordinary person of commonplace intelligence. 
Large writing, or high letters, approximating one-quarter inch in 
height, signifies the synthetical rather than the analytical mind. 
When the le ters of large writing are all of the same height it denotes 
the opposite to large writing with all the letters at different heights. 
The si/e of writing must be judged carefully, as the value of it 
depends on the contributing signs. That the si/e of writing is not 
alone dependable for analysis, is explained by the fact that some 
writers accommodate their writing to the si/e of the sheet of paper 
used, while others, whose faculties are well balanced, are not influ- 
enced by any limited space. 



Small Writing 

When habitually written low, one- The general indication for small writing 
sixteenth of an inch in height or is the power of concentration. It be- 
less, excluding the capitals. tokens stron £ individuality and force of 

character, with mental powers above 
the average. Good thinkers and rea- 
soners, with well-trained faculties. 
Literary persons, scholars, statesmen, 
philosophers, and men of mental re- 
finement write small. (No one of 
mediocre ability ever writes the small 
hand.) Executive and business quali- 
ties with diplomatic tendencies are in- 
dicated. 



GRAPHOLOGY 



13 






^UA^<^^^ 



Medium Sized Writing 
The conventional hand; approxi- 
mates one-eighth of an inch in 
height. Note: Consider the prox- 
imity of the writing to either the 
large or small script, and then 
neutralize the two extremes. 



Not always concentrative; more of the 
physical than of the mental type. May 
have good thinking qualities but are 
poor reasoners. Not always tactful, 
unless the signs for tact are evident. 
May have some intellectual powers and 
originality, but they are not strongly 
indicated. Tendency is to the practical, 
material affairs of life. The significa- 
tion for "medium" writing, depends on 
its proximity to the small or large 
script. 




Large Writing 

This style of writing has grapho- 
logical signification only when the 
small letters are abnormally high. 
(Follow same rule here as that 
given for medium writing.) 

(The writer of this specimen is 
prominently in the public eye, 
and at one time was a candidate 
for the presidency.) 



(a) Slight powers of concentration; 
thoughts are diffused and fly from one 
subject to another. Finds it difficult to 
remain long at one task; naturally 
restless and unsettled disposition, (b) 
The nature is one hard to satisfy, (c) 
Nature is close to the surface and easily 
seen, for the writer is inclined to be too 
outspoken, frank, and talkative, (d) 
Little tact is indicated; reserve force is 
limited. (e) Expends energy too 

freely and extravagantly in pursuit of 
fantastical ideas, and is apt to be too free 
in spending money, expressing opinions, 
in charities, or in use of words and ideas. 
Usually conscientious and of highest 
integrity, but lacking sound judgment. 



14 



GRA P II I. o G V 



^t^/OfO 



*e^. 






/ 



When the writing is large and with Denotes an egotistical, pompous na- 
flourishea and deliberate shading. turc, and given to boasting. 




When writing is abnormally large 
and in the angular hand. 

(The writer of this specimen is a 
woman member of the English 
nobility, and the wife of a member 
of parliament.) 



Denotes order, zeal, and enthusiasm. 
Readily animated or exeited. Always 
vivacious and spirited. Usually enter- 
taining talker; insists on having own 
way whether it suits others or not. 



THE STROKE 

All handwritings arc formed by combinations of the down strokes, 
the upstrokes, and the cross strokes. The down and cross strokes 
alone have any graphological significance. No one can write one 
intelligible syllable with the upstrokes exclusively. Down strokes 
may be written heavy, fine, or shaded. Heavy strokes may be made 
all one thickness or shaded, irrespective of style of pen used. Fine 
strokes are devoid of shading. Shaded strokes vary according to the 
amount of pressure put on the pen — one form of pressure determines 
the position of the shading on the down stroke, and the other 
form, the strength of the shading. Shading may begin at the top 
of the letter and end lightly; or it may occur midway down the 
stroke or at its terminal at the bottom of the stroke, before returning 
for the upstroke. An upstroke may be partially shaded at its 



GRAPHOLOGY 



beginning, if the pen is held at an angle away from the body, but in 
whatever manner the upstroke is made it has no graphological 
meaning. Shaded writing depends largely on the position in which 
the pen is held; if the hand is held with the penholder pointing over 
the right shoulder (or in left-handed writers, over the left shoulder) 
the down strokes are shaded ; when the penholder is allowed to cant 
to the right, the cross strokes become heavier. All down strokes of 
handwriting are direct muscular expositions of the nerve forces. 
These forces are communicated to the hand through the senses, and 
consequently the heavier the strokes the greater the strength of 
mind. Shading of the down strokes is mostly affected by the senses 
of taste, touch, and smell, while the shading of the cross strokes is 
affected by the senses of sight and hearing. The upstrokes are not 
affected by any of the senses, as they are involuntary strokes. 
These vibrations in script enable the graphologist to know how much 
of each trait or habit to attribute to the writer. There are two other 
forms of shading : the conscious and unconscious. The former is used 
for show and effect, while the latter, being the involuntary move- 
ment of the hand, is natural and is governed by the impulses. Care 
should be exercised in determining the value of heavy writing, which 
may indicate "good or bad" leanings, according to the other signs in 
the specimen. 



U-^^LJUuX^^ 



Heavy Writing 

When all the down strokes are 
heavily made, with or without 
shading; this includes all down 
strokes that are firmly made. 



(a) Denotes assurance, aggressiveness, 
and general lack of delicacy. An end 
ing, domineering disposition. 0>) In- 
tensely selfish, conceited, with link- 
regard for the feelings of others. 



16 



GRAPHOLOGY 



C^t^fi^U A- 



When heavy writing is large, 

thick, and black. 

(The writer of this Specimen, a 
woman, is a member of the English 
nobility.) 



(a) Persons who write this style of 
hand, are inclined to be deceitful and 
revengeful, and will not hesitate to 
resort to trickery, if necessary, to ac- 
complish a purpose, (b) Often rough- 
ness and boldness of manner, with 
lack of real refinement, are indicated. 
(c) Good qualities are indicated, such 
as a masterful, self-reliant nature and, 
frequently, marked ability. 



t^^' / 4>f4 



*&t^ 






Heavy writing, when it is ihuddy, 
not clean, and snappy; usually in 
large hand. 



Denotes sensuality, with oestrual hab- 
its, if other signs confirm it. Has 
strong passions and animal appetites; 
fond of physical exercise with desires 
that are confined to the gross and 
material. Intellectually weak and not 
mentally well balanced. Gluttony. 




CW d^^v. ~ fv 5 ^ 



o^a 



^J^AKJ 



•^(Waa^ 



^f\£W\J^ 



Fine Writing 

When all the down strokes are 
lightly made, without pressure, 
and in which there is a total ab- 
sence of shading. 



* Denotes quiet, modest tastes, with ten- 
dencies to a complaisant and simple 
disposition. Delicate sensibilities, tem- 
perate habits, and unobtrusive man- 



GRAPHOLOGY 



17 



(This is a specimen of the hand- 
writing of the late Miss Mollie 
Fancher, written in 1884, shortly- 
after emerging from a thirty -day 
trance, in which she believed her 
spirit or soul was celestially trans- 
ported to heaven, and was in 
commune with the angels.) 



ners; little desire for voluptuous 
pleasures or luxuries of life. Usually 
spiritually inclined, although not nec- 
essarily religious. Always has a high 
sense of honor and kindly consideration 
for others. 



y, 




Shaded Writing 

There are two forms of shaded 
writing, the conscious and the un- 
conscious or natural shading. Con- 
scious shading may be distin- 
guished from the unconscious 
form, by noting the deliberate 
heavy down strokes, or inflated 
parts of the stroke, which are 
made to beautify the writing, or 
for effect. Unconscious shading: 



Denotes an insistent nature; the more 
natural and spontaneous the shading, 
the more the trait is intensified. Na- 
tural executive ability always indi- 
cated, with determination. A dis- 
tinctive personality with well-defined 
tastes. Fondness for physical plea- 
sures, wholesome sport, luxury, and 
good living. 



j£J.j)~3Lu> 



Conscious shading, done for effect. 



Affectation and egotism with common- 
place personality. Lack of culture and 
ability, with small education, and weak 
intellect. Lack of strength of charac- 
ter. (Young children just out of 
school, consciously shade their writ inv: 
for effect; this feature is not considered 
in this definition.) 



[8 GR A I'HOLO G V 

Shaded writing thai is Muddy, unclean, coarsely made, with inflated 
shading; refer to Heavy Writing; see Muddy Writing. 




Cross STROKES 

When the strokes are liv;ht, no Denotes absence of sensuousness. 



-hade. 



m^ -^{ f*>~~A 



/V*vw^> 



^v» cvw ^va 



VvX^ 



&-&&& 



When the croSfl Strokes arc heavy Denotes BensilOUSnese with regard to 
and sharply Guided. iorm, music, or any of the emotions 

that are aroused by the passions. 



FORM 

The form of writing is closely akin to style of writing, with the 
exception that in style reference is made to a fixed standard confor- 
mation that is recognizable as distinct from other styles of writing. 
Form relates to the individual letters, the curves, strokes, and other 
characteristics in writing. Hence, the copperplate form is not 
typical; it is unusual as a means for conventional letter writing. It 
apes the Spencerian penmanship, and if persisted in, stamps the 
writer as of light mentality. Conventional writing is formal, expres- 
sionless, and may lack one or more of the elements that give char- 
acter to writing. It is that form of writing that results from custom, 
habit, or preference, due to lack of mental force. Inartistic writing 
may indicate shallowness of intellect, or a brilliant eccentricity. The 
laborious scrawl of the hard working mechanic may appear inartistic, 
compared with the practiced hand of the experienced writer, but the 
intellect in either case may be equally acute. 



GRAPHOLOGY 



IQ 





Copperplate Form of Writing 
The copybook style, written, with 
full regard for appearances, to 
beautify the writing; Spencerian 
penmanship. Not typical of nor- 
mal handwriting. 



The more the handwriting approaches 
the copybook standard, the more com- 
monplace is the personality of the wri- 
ter. Denotes lack of individuality, 
bound by rules and conventionalities; 
no ideas of one's own; no distinctive 
character. Accomplishments, ideas, 
and capacities are limited; seldom 
brilliant. Many bookkeepers affect 
this style in the belief that the tidi- 
ness of their books requires it. 



-^ZtsC^K s^t^cCf s^ozcX 



Conventional Writing 

Unassuming, unaffected script, 
penned freely and without regard 
for appearances; the formal hand 



There is no graphological significance 
to this style of writing; the only excuse 
for introducing it here is for comparison 
with the copperplate style and the 
inartistic. The separate features in the 
specimen will determine the character 
of the writer. 




Inartistic Writing 
This form of writing ranges from 
the laborious grind of the hard 
working mechanic, to the cramped 



Denotes modesty, frankness, truthful- 
ness, and sincerity. Writer is unas- 
suming, honest, trustworthy and Up- 



20 



GRAPHOLOGY 



schoolboy hand; it implies an 
unsophisticated nature, although 
writers of high intellectual attain- 
ment affed it, l)iu it is always the 
hand of the iinpracticed penman. 



right; a righteous, just, and morally 
dean nature. Lacks conceit, although 
possessing an unreasonable disposition. 



(The author of thi^ specimen is 
a noted writer of children's lxx>ks 

and kindergarten stories.) 




Ornate W'kniM. 
When writing is ornamented or 
penned with great care and with 
mmh Sourish and Spencerian 
shading; done for effect; conscious 

fancy writing. 



(a) Although probably talented or cul- 
tured, the writer is egotistical and con- 
ceited. Inclined to be headstrong and 
opinionated; self-impressed with own 
importance and often affected in man- 
ner, (b) These writers are usually 
light-hearted and have a high percep- 
tion of beauty and form, (c) Construc- 
tive ability, dexterity, and artistic 
talents are indicated, (d) When other 
signs confirm it, often a scheming, 
planning, enterprising, adventurous 
nature, (e) Usually small, reflective 
intellect. 



SPEED 

There are three classes under this heading, distinguished as hasty 
distinct writing, hasty indistinct writing, and hasty dwindling finals. 
The hasty distinct form is penned quickly with every letter perfectly 
legible. The hasty indistinct form is made in such haste that an 
occasional final letter is omitted, yet every word is readable. Hasty 
dwindling finals is that form wherein the last few letters in a word 
dwindle off into an undulating stroke, hardly decipherable, and if 
read at all, must be judged by sensing the word. 



GRAPHOLOGY 



21 






Hasty, Distinct Writing 

Quickly penned with every letter 
legible. 

(Specimen of the handwriting of a 
well-known public entertainer.) 



Indicates quickness, animation, vi- 
vacity, with much hastiness. Intoler- 
ance of details and an inherent inability 
to do things according to plan and 
order. Usually lacks ability or apti- 
tude for practical work. Not steadfast 
or ardent in the affections; generally 
impulsive. 




Hasty, Indistinct Writing 

Letters hurriedly written, some 
only half formed or omitted. 

(Specimen of the Hon. Wm. J. 
Bryan's handwriting.) 



The indications of this script denote 
much ability; one always accomplished 
in one direction or another. Possesses 
a great deal of individuality and origi- 
nality. Generally good talker, and 
entertaining; may have oratorical abil- 
ity. Usually ambitious with vivid- 
ness of imagination and inspiration, 
and sometimes a spice of genius. Win n 
other signs confirm it, insincerity, dis- 
simulation, and artfulness are indi- 
cated, and are present in one form 
or another. Conscientiousness is not 
strong; the tendency is toward ail 
elastic conscience. 



22 



GRAPHOLOGY 




.'"^n^—A 



Hasty, Dwindling Finals 

When the last few letters in a 
wort! dwindle ofT into undulating 
strokes. 



The pen mark of the sharper and 
Bchemer; will not submit to dictation. 
Does not always intend that what is 
said shall be taken literally. Lacks 
frankness; a finesse, diplomatic nature; 
a. jollier. I las an impenetrable person- 
ality, which will be either subtle, hypo- 
critical, or dissimulating, according to 
accompanying signs. 



/ 




Slow Writing 

Writing that is carefully penned is 
not necessarily slew writing. The 

form considered here relates to 
writing that is carefully punctu- 
ated, with the "t" crossings delib- 
erately made, the spacing between 
words equidistant, and the lines 
clearly separated from each other. 
The writing lacks snap and dash, 
as if every letter had been particu- 
larly placed. 



l^ZU^- 



This form of slow writing- signifies a 
desire for care and order; the writer is 
neat and methodical; habits are quies- 
cent and calm. 



When the writing is slow and ap- 
pears cramped or unsteady. 



Advanced years or infirmity may be 
inferred. 



When slow writing is straggling 
and spread over the lines, using 
more space than necessary, it is 
classified as Diffused writing, (See 
Diffused writing.) 



( i UAPHOLOGY 



23 



Uneven Writing 

This form of writing may be either hasty or slow, the writing varies in size 
with uneven base that appears broken, on and off the line, yet not wavy. 
The tops of the letters are uneven also, some higher than others, and lack 
uniformity. A wavy base line is undulating, serpentine-like; this must 
not be mistaken for uneven writing. 



Ipjl* Vr jfijUsh Tiki <^^rujt^ 



Hasty, uneven writing. 



Careless in little things and not metho- 
dical or systematic. Inclined to be 
indifferent to engagements or business 
affairs. 






u* 



When the writing is uneven and 
slow. 

(Specimen of a well known woman 
freak, exhibiting at the summer 
resorts as the "Fat woman.") 






£<z>o £ 



Cyo-t^+ 



Uneven, slow writing, and particularly 
the straggling form, denotes a weak and 
vascillating character; Lacks judgment 
and discretion. Little self-control; apt 
to be flighty and irresponsible; laclcB 
poise and full mental balance. There is 
a lack also of harmony in action and of 
the faculties. Writers of this form are 
inattentive, abstracted, visionary, in- 
decisive, unsteady, capricious, slovenly, 
awkward, careless, and unpractical. 

They are not to be depended upon. 



24 GRAPHOLOGY 

Uniform Writing 

Usually slowly written with all the Denotes neatness and one who acts 
characters uniformly penned, all with precision and carefulness. Al- 
one size, even base line, all down wa V s tactful > methodical, painstaking, 

+ i « „* „™~ ™„i<* .. n :f n ~« with well-balanced faculties. Good 
strokes at same angle, unilorm , . 

,, , j ,. business instincts; thrifty, prudent, 

spacing between words and lines. , . , ' . 1*", 

r & and economical. Makes good man- 

ager, organizer, capable clerk. 



SPACE 

Space refers to the relative distances between letters and words, 
and also the lines. Some writers use too much space and others crowd 
their letters and words, and even the lines close together. One is 
called Crowded writing and the other is called Diffused writing. 
Crowded writing is that in which the letters in a word are crowded 
close together, jammed against each other, as if to shut out any 
encroachment of additional letters; or the spacing between words is 
so small that it makes the words appear to run together, or crowd the 
margins, or even use the margins for additional writing. The lines 
are also written so close to each other, that they could not be cut 
apart without mutilating the loop letters. In fact the loop letters 
run into the lines above and below, giving the latter a confusing, 
tangled appearance. The normal space at the left margin should be 
about one-half inch, and even all the way down the page; this 
gives to the letter an orderly, harmonious appearance. Good 
business men do not leave wide margins, and do not crowd them. 
The matter is written squarely on the sheet, using all legitimate 
space, and the loop letters are not permitted to extend to the lines 
above or below. This explanation defines the difference between a 
normally written page and one that is crowded. Diffused writing 
shows the letters in a word and the words themselves widely spaced 
and spread over the page, using more space than necessary. The 
form where the message is written in the center of the page, leaving 



(iRAPHOLOGY 



wide margins at the right and the left, may not be considered dif- 
fused, although it takes on largely of the characteristics of diffused 
writing, with some modifications. Diffused writing is usually the 
habit of those who write large hands. Another form of diffused 
writing is the straggling variety used by the insane. This latter form 
is usually associated with weak, uncertain strokes, and while diffused 
in space is actually crowded, one line running into another, rendering 
it difficult to read. 



o»4 ^kmc^ <t*0A Wt fhuuh 



Crowded Writing 

When the letters in a word and 
the words themselves are crowded 
close together, with the loops of 
one line running into the lines 
above and below. 

(Specimen of handwriting of a 
recently dethroned European mon- 
arch.) 



Inclined to worry and to be particular 
about little things. Tendency is to be 
exclusive; takes a narrow view of life. 
When other signs confirm it, it denotes 
a saving disposition, inclined to pessi- 
mism and a suspicious nature. Natur- 
ally secretive, with a cramped and 
warped mind. Not brilliant; moody. 






-**/ 



Compressed Letters 

When the letters in a word are 
close together, not crowded, writ- 
ten as if they were pressed against 
each other. 



This form of writing indicates more Of 
less an economical disposition, and, 
probably, avarice. 



26 



GRAPHOLOGY 



Jj-<LA^JL^Xi^ 



Diffused Writing 

When the letters in a word and the 
words are widely spaced and 
spread over the page. 



(a) Denotes generosity and extrava- 
gance. Rarely economical or thrifty. 
Not methodical or systematic, and 
merely superficial in accomplishments 
and education (if in large hand.) (b) 
Has quick and ready mind with inher- 
ent talents. Does things in a hurry; 
often hasty and careless, thoughtless 
and imprudent; dislikes drudgery, (c) 
Lacks sound judgment; ideas are dif- 
fused and cannot easily concentrate the 
mind, (d) Is of sociable disposition, 
fond of company, enjoys entertaining, 
and being entertained. Usually good 
dresser — dislikes plainness. 






When diffused writing is strag- 
gling and badly spaced and indis- 
tinctly written. 

(Specimen written by a former 
minister of the gospel, who was 
executed lor murder, at Boston, 

Mass.) 




Indicates slovenliness, with more or less 
mental weakness. This form of writing 
is characteristic of lunatics. Usually 
lacks strong mentality or mental vigor, 
due sometimes to illness or mental dis- 
tress caused by grief or other mental 
disturbance. (Consult other features in 
specimen to confirm these significa- 
tions.) 



GRAPHOLOGY 



27 



Well Spaced Writing 

When the letters and the words are 
evenly and proportionately spaced, 
with lines clearly separated from 
those above and below. 



(This is a specimen of President 
Wood row Wilson's handwriting, 
written in 1912.) 



Well-ordered mind with good judg- 
ment; one who can be depended upon 
in matters calling for circumspection 
and prudence. Rarely acts hastily on 
matters of business; never becomes 
confused or excited. His nature is 
conservative, with the instincts of a 
business man. Cannot be convinced 
against better judgment. Makes good 
manager. 




Not Well-Spaced Writing 

Small letters irregularly spaced 
in words; spacing between words 
not uniform; lower loop letters 
running into the lines below; mar- 
gins uneven; writing has a listless 
appearance. 



Writer is careless in manner and indif- 
ferent to engagements or minor pro- 
prieties. Flighty, lacks poise; not 
methodical or systematic. Apt to 
change mind quickly and is otherwise 
not dependable. Decision always more 
or less unstable. Likely to be rash and 
imprudent in financial affairs. Gener- 
ally speculative. 



LINES 

What is meant by lines is an imaginary line, more or less straight 
at the base, on which the letters are supposed to rest. A specimen 
for examination should be, preferably, on unruled paper, written in 
black ink. Should the specimen offered for examination be written 
on ruled paper it is advisable to exclude any deductions, so far as 
they pertain to the lines, unless it is shown that the writer has 



28 G R A P II O L (.) (i \ 



totally disregarded the ruling. This also applies to lines that appear 
very straight and spaced with exactness, because some persons use 
guide lines beneath their note paper, or even mark the lines with a 
ruler. Lines are divided into several classifications, each having a 
special significance. A straight line is written horizontally on the 
page, with even base. Tilt the paper slightly and scan down its 
surface, from the left to the right. If straight, the base will 
appear even, with no indentions. A continuity of letters and 
words straight on the base line accentuates the sign. Ascending lines 
cant upward, sometimes only slightly, sometimes very marked!;,. 
Some writers make ascending lines from ascending words, the words 
ascending more than the lines. This classification is sub-divided into 
lines that start to ascend and then descend; lines that descend and 
then ascend; lines that are formed of ascending words; lines thai 
are formed of descending words. Another classification deals with 
descending lines. When the writing cants downward about twenty 
per cent off the horizontal, and it is known that the natural writing 
is straight, the sign is dependable. Some writers incline their words 
downward on descending lines, giving the base an appearance of 
steps; others incline their line while the words slightly ascend, or 
appear off the descending line. These oddities in writing are 
supplemented by lines that are improperly spaced and irregular lines. 
A study of the lines often provides the key to other signs and is 
therefore important. The lines of writing are relatively the same in 
importance as the keyboard of the piano, without which the graphol- 
ogist and the piano student are unable to proceed. Patience and 
practice in either study makes the proficient performer. 



S/0 



Straight Lines 

When writing is placed horizon- General significations for straight lines 
tally on the page, the base being are honesty and straightforwardness, 
even. When the small letters are all written 

equal in size, and of the same height, 
the signs are accentuated. 



GRAPHOLOGY 



2<) 



cnM^^^^^ 



Ascending Lines 

When the writing has an upward 
cant on the page. 



Ambitious nature; a buoyant disposi- 
tion, and lively interest in life. One 
who is naturally hopeful and not easily 
discouraged. These writers possess de- 
termination to succeed, and are con- 
stantly pushing ahead, as they allow- 
nothing to daunt their ambitions. 






When the lines ascend very mark- 
edly. 



Ideals and aspirations are high; de- 
notes an exaggerated ambition; more 
ambitious than practical. Likely to be 
visionary, with extravagant aspirations. 



S^w^^~-^^> 






When lines start to ascend and 
then descend. 



Indicates enthusiasm at first, but not 
enough energy to finish at end. 



JLsZ. 



~^^>7^<y 




When lines descend 
ascend. 



and then Indicates hard work to Ix^in. takrs 
Courage, K ( ' ts hopeful, and then com- 
pletes the task. 



30 



GRAPHOLOGY 



When lines are formed of ascend- Indicates moderation; no haste; con- 



ing words. 



stant consideration. 



^^ J&e 



When lines are formed of descend- Probably an active character that will 
ing words. ^S^t successfully against disappoint- 

ments and discouragements. 



**^& 




Descending Lines 
W T hen the writing cants downward 
off the horizontal, and it is the 
natural manner of writing. 



When the lines descend very mark- 
edly more than twenty per cent, 
downward and the writing appears 
weak. 



There is a certain lack of initiative or 
active ambition ; may be ambitious but 
lacks the necessary vigor or steadfast- 
ness of purpose to accomplish a task. 
Easily put out of humor; habit of 
fretting and worrying. Is subject to 
morbid prejudices. Often suspicious, 
distrustful, and apt to take offense 
readily. Happy nature and in high 
spirits one hour, and down in the depths 
of gloom and discouragement the next. 

The indication is of ill health, depres- 
sion, or a diminution of mental vigor, 
due to grief, or some physical indispo- 
sition. Those who are mentally unbal- 
anced, rarely write the descending 
hand. 



GRAPHOLOGY 



^£z^£ ^-^o^ ^iV^- z£^^ 

When words incline downward on Indicates a struggle against depression, 
descending lines. 



<**^A 




When the lines descend more than Writer is satiated with pleasure; afflict- 
the words on descending lines. ed with ennui. 



/*5jJUZfZd. ^ Ar^^y^ 



When horizontal lines end with Indicates one troubled with "the blues, 
the last words drooping. 




Irregular Lines 
When unevenly spaced in relation Not naturally gifted with methodical 
to one another, or business instincts. 



32 



GRAPHOLOGY 



iNv r^js, - jvot ^w at^ „ 



Irregular lines, with small letters 
constantly varying in size, small 
letters a and o closed. 



Indicates deceitfulness. 




Irregular lines, with small letters, 
a, o, tightly closed, constantly 
varying in size, with tops pointed, 
finals never ascending to right. 



Indicates cunning and trickery. 






Irregular lines; letters close to- 
gether; a, o, closed tight; letters 
constantly varying in size; hooks 
at end of strokes; irregularly 
spaced words and lines. 



The indications are thievishness and 
general perverted nature. 




Irregular lines, an occasional 
straight line, some slanting up- 
ward, some downward; base lines 
uneven and some undulating. 



Signifies deviousness. 



GRAPHOLOGY 33 



MARGINS 

In discussing this classification it is to be understood that the mar- 
gins of a letter are meant. Should any other than a letter be offered 
for examination this classification may be ignored, unless the right 
margin shows drooping finals. A letter may be written by beginning 
close to the left side of the page and finishing close to the right edge, 
or a margin may be left on the left side of from one-half an inch to 
two inches, this variation depending on whether it is a note or letter 
sheet. The normal space for the left margin is about one-half an 
inch. Some writers place their message artistically in the center of 
the page, leaving wide margins on both sides of the sheet. Most 
women and men of extravagant tastes ignore the hyphenated word, 
preferring to leave open gaps at the right margin, unless they fill the 
space with a horizontal stroke of the pen continuous with the last 
word. These are idiocyncrasies that are tell-tale marks. The man 
who tries to save money, but spends more all the time, starts the top 
of his letter near the left margin, but by the time he has reached the 
bottom of his letter he has gradually worked away from it, until 
the last line is farther away from the side of the sheet than the first . 
Then we have the writer who reverses this manner of placing his 
lines, and begins wide at the top and gradually closes in toward the 
edge of the sheet at the bottom. This tells us that the writer can 
hold his emotions in check. Again there are those who are careless 
of little things, and who lack all appreciation of taste and refinement, 
who zig-zag each line down the left side of his letter, giving an un- 
even appearance to the margin. 

The following descriptions are self-explanatory: 

The Right Margin 

When the margins are wide on Artistic tastes are indicated. These 
both sides of the page. writers arc fond of what is neat and 

harmonious. The desire is for origin- 
ality; aesthetic taste. Apt to be Belf- 
coosctoua and to study appearances. 
Inclined to be fussy over little things 
and bothered with trifles. 



34 



GRAPHOLOGY 




*^T^> ~»U 




When the last word on a line Indicates that the writer is subject to 
"droops." the "blues." 




When long dashes are used to fill 
out the ends of lines, rather than 
divide a word and carry it over to 
the next line. 



Denotes extravagant notions, with a 
certain degree of cautiousness and mis- 
trust. 



The Left Margin 

When the writing begins wide at 
the top and ends narrow at the 
bottom. 



Inclination to spend money and to be 
liberal, but combats against it success- 
fully. 



When the writing begins narrow at 
the top and ends wide at the bot- 
tom. 



Desire is to save but spends more all 
the time. 



When the left side of the writing 
is uneven and lines are indented, 
giving an in-and-out appearance 
to this margin. 



Lacks order; has lively nature; careless 
in spending money. 



When written very close to the 
edge of the sheet, with the tops of 
the heading filled in, and every 
available spot used, even to cross- 
ing the horizontal lines, and at the 
margins. 



Inclination is toward stinginess; usu- 
ally is thrifty; lacks good taste; often 
untidy and sloven. 



Note. The conventional left margin is about one-half an inch. 
"Crowded Writing" for further details. 



See 



G R A P II O L O G Y 



35 



TERMINAL OR FINAL STROKES 



The terminal of a word is the final or end of the stroke, of which 
there are several forms. The abrupt final ends as if chopped off at 
the completion of the last letter. The outward form extends hori- 
zontally away from the last letter, either in a short or a long stroke. 
The upward final may turn up in a short stem or soar above the 
letter. The downward final extends below the line, sometimes ending 
in a thin, short line, or is snapped down saucilly as if in defiance. 
Downward finals frequently end with a tiny hook as if the writer, in 
lifting the pen, gave it a slight jerk, leaving a little tick like append- 
age, that resembles a small hook. Sometimes these hooks occur in 
the outward or the abrupt finals, but rarely in the upward form. 
Some writers extend their final with the last word on a line to fill out 
otherwise blank spaces. A rare specimen will show finals that curve 
upward and back, partly inclosing the word. When these signs arc 
habitually used in a specimen the signification is reliable. It is 
improbable for all the forms for finals indicated here to appear in 
the same specimen. 



UrL*j£ 




Terminal Strokes 

Writing in which the final strokes Generally self-contained; not given t<> 
end abruptly, as if chopped off. extravagance in either the Bpending ..; 

material goods or of their emotions. 
(This specimen is from the hand- Discriminating in genen»iiv and kind- 

ness. Prudent, careful, reticent nature. 
When seen in a hand bearing evident 
mistrust, it denotes excessive calcula- 
tion, solicitude, and extreme fore- 
thought in the character. 



writing of a prominent efficiency 
engineer.) 



<2Jl>Jl^t 



/-h~~ 



When the final stroke extends out- The tendency i^ to give out, to throw 
ward, almost horizontal with the off, as a giving out of one's sell for the 



36 GRAPHOLOGY 



line, but not used to fill out other- sake of others. Writer has vivid pow- 
wise blank spaces. ers of fanc y» as wc | l as liberality and 

generosity. Tenacity of purpose is 
indicated when the finals end with a 
hook. When this outward final is 
found in a hand denoting kindliness, 
quick sympathies, etc., it indicates a 
self-sacrificing nature. 

Finals that Extend Upward 

When the finals extend upward Denote one who is interested in any- 
above the word. thing that tends to arouse the imagina- 
tion; love of the marvelous. 



When the final stroke is turned Good-natured disposition; a candid 
upward. an d outspoken person. Benevolence, 

graciousness of manner, and courteous- 
ness of bearing are also indicated. 



When the final stroke is turned Indicates secretiveness and general lack 
downward without hook. of candor. Often obstinate and willful. 



GRAPHOLOGY 



37 



W--U. th fact 

When the final stroke is turned Writers are opinionated, perverse in 
downward with a tiny hook. their convictions, and insistent upon 

their own ideas. Will not tolerate dic- 
tation. 

When the final stroke ends ab- The indication is generally determina- 
ruptly with a tiny hook. tion and persistency if other signs con- 




When the final stroke curves up 
and back over the word, partly 
inclosing it. 



The accepted explanation for this sign, 
is protect iveness, or the unconscious 
wish to shield oneself from harm, or in 
the interests of others. 



PUNCTUATION 

Few persons are able to punctuate correctly. This does not apply 
to inexperienced writers only, for many able writers are included in 
this arraignment. The features of punctuation that apply in 
graphology are those that indicate a total disregard of its principles, 
due either to ignorance, carelessness, or an aberrated state of the 
mind. The substitution of dashes for periods, for instance, may not 
be attributed to ignorance, but probably to an unconscious impulse, 
made while the mind was concentrated on a subject that suggested 
the intention to be cautious. To all intents and purposes the making 
of a dash might serve the writer's puqx)se as well as a period, but its 



38 GRAPHOLOGY 



use, nevertheless, clearly indicates a mental twist, for in graphology 
the intent is considered rather than the form used to express the 
thought. This rule applies to all features of writing, whether it 
occurs in the punctuation or in the letters of writing. Any departure 
from the established rules of writing tends to show the state of the 
mind at the moment it was concentrated on the act of transcribing 
thoughts to paper. Only such specimens as could not be clearly 
described have been introduced here, as the descriptions are gener- 
ally clear and self-explanatory. 



&Cot**s UC^UU> U>+*Jc CL* Jk+*icA 

Punctuation 

When all marks are carefully Denotes carefulness, with methodical 
placed, each mark properly used. habits. Due regard for order and a 

systematic nature. 



/2^0e^y^?^z. — <^->t~ Cjsfst^ cOt^-i 

When punctuation is carelessly Indicates a general carelessness of man- 
placed. n e r and of actions. 



When dashes are substituted for It indicates caution, prudence, and 
periods. guardedness. An aggressive tempera- 

ment with a reserved exterior and 
manner. 



GRAPHOLOGY 



39 



^T^^^^-^^Z^^ 



7^2 



When there is an utter absence of 
punctuation, in the hand of the 
inexperienced writer. 




Negligence is indicated in small mat- 
ters, and lack of caution. Incompe- 
tence in the matter of detail and sys- 
tem. Usually denotes a bad memory. 



When periods are quickly made 
and with elongated dashes. 



Indicates excitability. This habit rare- 
ly accompanies refined hands, for cul- 
ture and refinement seldom show 
emotion. 



When periods are made 
round deliberate dots. 



with Indicates calmness. 



When exclamation, interrogation, 
quotation marks, and underscore 
are much used. 



When quotation marks are con- 
stantly and needlessly used. 

W T hen punctuation marks are used 
accurately, especially the colon 
and semi-colon. 



Romantically inclined. Denotes a ten- 
dency to magnify and embellish, and to 
become enthusiastic and wax warm 
over subjects that the writer has at 
heart. 

Eccentricity and mental shallowness 
Presumptuousness. 

Literary ability and training usually 
indicated. 



When the comma is persistently 
omitted. 



Mental confusion. 



<4SBLj 



*~* 



U^ 



J> 



£-At^ # 



When dashes are placed at the end 
of sentences additional to periods. 



A mistrustful and very watchful na- 
ture. 



40 GRAPHOLOGY 



When words are constantly under- Shows great desire for clearness and 
scored. accuracy. Indicates self-esteem. The 

tendency is to exaggerate; great enthu- 
siasm may be expected. Want of de- 
liberation and a poor judgment are 
denoted. 

When phrases are underscored by There is a delicacy of feeling and refine- 
curved lines. ment of thought, some vanity and a 

good deal of capriciousness. 

When the X mark is used in place The indications are that the writer is 
of periods at the end of para- either a newspaper writer, has repor- 
graphs torial experience, or is a telegraph 

operator. The other signs in the speci- 
men will indicate the classification. 



CAPITALS 

Capital letters may be regarded as supplementary signs to the 
graphological significations indicated by the small letters. The 
student may often find that capitals will supply characteristics that 
have been overlooked in the analysis of the small letters. The shape 
and size of capitals frequently show independent features of charac- 
ter, not so clearly revealed in the small letters, and in this respect are 
useful as confirmatory signs in making an analysis. To illustrate: 
Capitals that are large, high, and prominently written, with ten- 
dencies to the ornate, may indicate a certain degree of egotism, but 
unlike that trait found in writing with useless flourishes and with 
conscious shading of the down strokes in the small letters. The 
quality of egotism shown in high capitals may indicate a justified 
ego, or pride of self, due to one's station or position in the social 
scale, which distinguishes it from the egotism that is revealed in 
useless flourishes, that relate to false pride, born of a shallow intellect 
and an assumption of virtues unattained. Capitals are susceptible 
of many variations of style and of construction, each feature having 
definite interpretations of character, in some respects more pro- 
nounced in definiteness than that indicated by the small letters. 
Many authors lay great stress on the value of capitals. We once 
heard a French graphologist of note declare that he needed no more 
than the capital "I" as a basis for delineating character, as he con- 



GRAPHOLOGY 



41 



sidered this isolated example sufficient material for an analysis. Be 
that as it may, we can hardly recommend this method to the 
student, because every available piece of writing should be taken 
advantage of, if accuracy and dependability are to be assured. 



f 



0fiM* 



/>£^ 




V?y*^ ~S^,Q// 



Capitals 

When capitals are large and prom- 
inently tall, tending to the ornate, 
seemingly out of proportion with 
the small letters. 



Indicates egotism, conceit, affectation, 
love of display, and pride. This type 
of writing indicates that the writer has 
accomplished some achievement, over 
which he is elated and wishes to display 
it. When other signs indicate it, cul- 
ture and ability in some direction are 
shown, with vanity and egotism surely 
present. In one way or another the 
trait of self-importance, with a quietly 
self-appreciative nature and fondness 
for approbation are noted. Occasion- 
ally the traits of eccentricity and 
originality are evident. 




When capitals are excessively or- 
namented. 



VrM 




Ostentation and imagination are indi- 
cated. Talenta and accomplishmenti 
are usually mediocre; lacking in intel- 
lectual depth. 



42 



GRAPHOLOGY 



UJUAs- 



When capitals are written with 
the incurve, i. e., an initial stroke 
preceding the making of the letter, 
and passing from right to left. 



Always signifies egotism and sensitive- 
ness with regard to social position. 
These writers entertain lofty opinions 
of themselves, although there is some- 
times indication of culture and ability, 
if other signs confirm it. When the 
incurve occurs in the small letters, it 
denotes unselfishness, humbleness, and 
generosity, but the Bign always signifies 
sensitiveness. 



X 




When capitals are plain and simply 
written without flourish and almost 
print-like, and are not out of pro- 
portion with the small letters. 



The more simple the capitals are made, 
the more they denote taste, refinement, 
modesty, and simplicity. Quiet and 
artistic temperaments, with inherent 
ability and mental culture. Literary 
men, deep thinkers, and philosophers 
usually write plain capitals. 



When capitals are plain but large. 




Ict-v^dnjihJL^ 



Pride and egotism is indicated to a 
certain extent, although this is con- 
sidered more an indication of boldness 
with some aggressiveness and master- 
fulness. Self-reliance is always mani- 
fested. 



<; H A P II () I. () (. Y 



43 



"a-*- &/Ol*C<%^ ^r-gA 





/ 



When capitals are made with Sensuousness and love of pleasure and 
heavy pressure, either in form of comfort, 
shading or heavy stroke. 

Note: Do not confound "sensu- 
ousness" with "sensuality." Sen- 
suousness may be entirely pure, 
while sensuality is never pure. 



y, 




When capitals are severely plain. 



This sign is always the evidence of keen 
faculties. 



jUx. A^^-vY A^fco-vuU-Jjt** 



When capitals are severely plain, 
of angular construction, and awk- 
ward in appearance. 



Simplicity, lack of tact, and plain 
homely tastes arc indicated. Practical, 

unemotional, and matter-of-f.ut per- 
sons with sterling qualities, but without 
magnetism are apt to use this form of 
capital letter. 



I ( / n 



tit 



AS* 



^CU-<, 1^ 



The F in Frank 

When capitals are made severely 
plain like printed letters. 



Sense of form; an exacting and critical 
taste; some artistic ability. 



44 



GRAPHOLOGY 




When capitals are long and slender Pride of the unostentatious form is 
though not too high. indicated. 



ACol^s ULL^L* 0>-*-0<fc. CL* Jb+^lo> 

When capitals are too small in Timidity; lack of self-appreciation, 
proportion to the small letters, and 
the writing is commonplace. 






When capitals are very small with Great simplicity and fineness of nature, 
the writing forceful. 



m 



Qtov.iTO 



J/OJJJWULTVj SADAJLOAJJUIAjQ* 



When capitals are gracefully orna- Proud and mild ostentation, with good 

mented but not ostentatiously dis- taste. 

played. 



When capitals are disproportioned Lack of mental dignity. Vulgarity of 
to the small letters and inharmo- mind. Absence of literary and other 
niously written. refined tastes. 



GRAPHOLOGY 



45 



When small letters are replaced 
by capitals. 



While liveliness and enthusiasm are 
indicated, an ignorant, bombastic pride- 
is present. When too frequently re- 
placed by capitals, arrogance and im- 
portance. 




L/ 



When capital letters are "notched ," 
occasionally seen in the small 
letters. 



This sign is the invariable mark for 
persons who are suffering with heart 
trouble, either valvular, or systolic 
murmur. 



(L^^y 



The Capitals M and N 

W T hen made in the three-stroke 
form like the small letter m. 



UsO. 



/ha^o /ft 



Simplicity and freedom from ostenta- 
tion is usually indicated. 






When the first stroke is made 
higher than the others, in either 
form of this letter. 

The M in "Mitchell" is indicated. 
This is a specimen of Dr. Osier's 
handwriting. 



Pride, independence, nncl social ambi- 
tions (pride of family name and BOCJal 
position). Ambitious for the BUCCCH 
and welfare of those near and i\va-. 



4 6 



GRAPHOLOGY 



Jtl 




When the second or third stroke is 
highest in this letter. Normal 
persons are unable to write this 
form of M spontaneously. 



Denotes extravagance of mind akin to 
mania; visionary on religious subjei ts, 
when religiously inclined. Usually 
sensitive nature. Self-satisfaction. 

Sign of unbalanced mind; not that the 
writer is crazy, but invariably of a 
nervous, erratic, eccentric, unreason- 
able disposition; exacting in demands 
upon others; thoughtless of their com- 
fort or capabilities. These persons 
usually possess a disposition that is 
wearing on, and trying to, others. 



I ci n + 



a 



A/b 



^ou-c K 



When w r ritten with three perpen- 
dicular strokes and one horizontal 
stroke above, sharply made. 



An aesthetic nature; likes beautiful 
things and surroundings. Tastes are 
refined and artistic. 



<3rf 



Cfe.§W(Sau*«^$l 



/ / ajULnAAA^ j yVMXUJLAM& 



The M in Mr. 

When this letter is looped and or- 
namented, either the initial curves 
of the two-stroke form, or the final 
stroke of the three stroke form are 
elaborately ornamented or whirled 
into a loop. 



Lack of culture; ostentation strongly 
marked. 



GRAPHOLOGY 



AT 



o^x^y 




When written with the incurve, 
the initial stroke begins at the 
right, swings to the left across the 
letter, and forms the start of the 
letter. 



<tf 



fotw fo 






Generally persons of sensitive nature. 
Egotism or selfishness is indicated. A 
self-appreciative, proud, and self-reli- 
ant nature; if the letter is very sloping, 
jealousy is the characteristic. 



SIGNATURES 

The signature alone is regarded as undependable for an analysis, 
as most writers use a studied form, quite unlike the body of the text. 
When the signature, however, is known to have been written in the 
natural hand of the writer, and is similar to the body of the text, it 
may be interpreted freely, as no natural writing is so obscured but 
that the skilled graphologist may penetrate it. The descriptions of 
signatures given here are the average among rational signatures; 
anomalies and unusual forms of writing signatures have been ex- 
cluded. For obvious reasons, no specimens have been reproduced 
here, the descriptions supplying all practical needs. 



When the signature is plainly writ- 
ten, and similar in form to the body 
of the text. 



The nature is ordinary, quite of the 
conventional type; simplicity, clear- 
ness of mind, with a personality that i- 
modest and unassuming. 



When the signature is dissimilar 
to the body of the text. 



There is a general feeling of superiority 
and importance. 



When the signature is smaller than 
the body of the letter. 



Indicates a personality that n mild and 
without force. 



When the signature is larger than 
the body of the letter. 



Much pride and forcefulness, 



When the signature is in the back- 
hand and the body of the letter is 
in the right slope. 



Writer is really affectionate but does 
not wish to appeal bo. Sometime* thia 
sign denoti 



4 8 



GRAPHOLOGY 



When the signature is in the for- 
ward slope and the body of the 
text is backhanded. 



Apt to be effusive and demonstrative, 
but is not really affectionate. Cold- 
heartedness is the rule. 



When the signature is written with 
a complicated flourish. 



Mistrust and subtlety of nature. When 
formed of intertwined lines, an in- 
triguing personality may be expected. 



When the signature is made with 
an elaborate flourish. 



Vanity, love of display, ostentation, 
affectation, and boast fulness are indi- 
cated. 



When the signature is made with 
an underlined stroke. 



Self-confidence and importance justi- 
fies the sentiment. 



When the signature is underscored 
with flourishes. 



The writer is expecting to be applauded 
and desires approbation. 



When the signature is underscored 
by a thick straight line. 



Courage is indicated. Some degree of 
sensuality, which may be determined 
on examining the pressure used on the 
pen, throughout the writing. 



When the signature is underscored 
with one straight line. 



Moral courage and refinement are 
shown. Prudence and that sense of 
reputation and character that is upheld 
at all costs. 



When the signature is underscored 
by two heavy straight or slightly 
curved lines. 



The desire is for dominating others. 



When the signature is underscored 
with a single line ending at right 
or left of the line, with a small 
hook. 



Indicates tenacity of purpose. 



When the signature is underscored 
by a curved line, beginning and 
ending in a sort of looped hook. 



Love of admiration, coquetry, and 
often a love for flirtation; generally self- 
complaisant. 



GRAPHOLOGY 49 



When the signature is underscored Great brilliancy and originality; ac- 
with perpendicular zig-zag lines. tivity of a very pronounced descrip- 

tion. 



When the signature is inclosed by Impenetrability; self-interest; exces- 
a sweeping stroke. s i ye secretiveness — sometimes a penu- 

rious nature. 



When the signature is lacking any Want of self-consciousness, proper 
form of flourish. pride, dignity, and freedom from all 

show. 



When a flourish is placed at the Mild eccentricity, exaggeration, and 

top of the signature. mental vanity. 

When the signature is made with a Denotes a witty, mirthful turn of 

wavy curved flourish for the under- mind, in high spirits and good humor, 
score. 

When a period or a dash appears Evidence of caution and prudence, 

after the signature. carefulness and mistrust. 



50 GRAPHOLOGY 



THE SPECIAL FEATURES 

Specifically the Small Letters of Writing 

In the preceding chapter the general features of handwriting were 
discussed and the fundamentals of writing explained. This chapter 
is devoted to the special features, which include the small letters of 
writing and their sub-divisions. It is estimated that ninety per cent, 
of writing is done with the small letters, and in consequence one 
becomes familiar and adept in writing these small characters. The 
amount of physical and mental effort required to form these small 
letters are almost nil, as compared with the infinitesimal fraction of a 
moment more required to make the capital letters. This difference 
in time between the writing of a small letter and the writing of a 
capital is due to the greater practice one gets in writing the small 
letters. This is the graphological reason why more significance 
attaches to the small letters than to the capitals. Strange as it may 
seem, the average person will unconsciously balk at making a capital 
letter, even if for only a fraction of a second, while no hesitancy pre- 
cedes the making of a small letter — it is "habit personified," as much 
the part of the individual as is his sight or speech. It is proverbial 
with the inexperienced writer to make the capital letters inharmo- 
nious, ill-shaped, and sometimes grotesque, while the small charac- 
ters are formed in a natural manner. The following divisions of 
handwriting deal with the "super-signs," so full of meaning to the 
analyst. It brings us closer to nature, closer to the creative faculties 
in man, which civilization and training have bequeathed to him. 



^iC^-*-^> 






ii 



Abducent Writing 

There are two supplementary The general signification of this form 

forms of handwriting that have of writing is amiability, and a keen 

special reference to the small let- mind. 



GRAPHOLOGY 



51 



ters, and which govern every fea- 
ture described in this division. 
One form is called the abducent 
style, in which all the down strokes 
bend inward to the left, causing 
all the tops of the letters to be 
pointed or sharp. It is made by 
versatile penmen with an easy 
swing of the pen. 



(^Cc^^^L — - <^->^ Uux^ c^h^c 



Adducent Writing 

In this form all the down strokes 
are out-curved or bend to the 
right, causing the tops of the 
letters to be rounded, with a sharp 
or pointed base. Angular writing 
is not included in this classifica- 
tion. 



The general signification of this form 
of writing is calmness, with a certain 
dullness of perception. 



ty^- 



&jczz^ 



t 



CL<c<^4k.j(Z*2^*~^? *J (l^*~«~y 



Connected Letters 
When all the letters in every word 
are written with one continuous 
stroke of the pen, each letter 
joined to the succeeding letter, 
without lifting the pen from the 
paper; this includes the joining of 



Connected letters in writing imply 
logical reasoning power s . The writer 
has a practical turn of mind, instinc- 
tively careful, and prudent. Does not 
make up his mind hastily in matter! ol 

importance. Natural reasoner, for 



52 GRAPHOLOGY 



the capital to the succeeding he takes little for granted and is in- 
small letter. clined to ask questions and to insist on 

knowing the why and wherefore of 
every proposition. Usually argumen- 
tative and skeptical of what is not at 
once understood. These writers accept 
very little on faith, but must be shown, 
for they are all "Missourians." They are 
generally opinionated and have de- 
cided views. 



When words as well as letters are Hard to convince; tenacious of opin- 
connected. ions; insists on a full understanding of 

things. Governed by judgment and 
reason; rarely jumps at conclusions. 
Views are always fortified ' by reason, 
facts, and argument. Keen, shrewd, 
and exacting in business matters; 
difficult to overreach such a person. 



^£l-^(U^ 



When w T ords are joined together The infallible sign of stubbornness, 
with a continuous sweep of con- obstinacy, and a willful, tenacious hold 
necting finals. on opinions. Apt to be fussy and par- 

ticular of details. 



Carcjfu^ &Hs7od*rC<) fifa,^^/) $ 

Disconnected Letters 

When there is frequent or occa- Signifies intuition. The writer is apt to 
sional separation of the small jump at conclusions, and to make up his 



GRAPHOLOGY 



53 



letters in a word, disconnecting 
the characters by lifting the pen in 
a word before its completion. Usu- 
ally in hasty or in the cultured 
hand ; largely a woman's trait. 



mind quickly and on the spur of the 
moment. Arrives at decisions instinc- 
tively. Judgment of matters and peo- 
ple is dictated by an inner conscious- 
ness rather than by any process of 
reasoning; quick of comprehension, 
observant, critical; little escapes their 
notice. As a rule a good judge of 
character. Likes and dislikes are 
formed on the spur of the moment, 
for he is guided largely by impres- 
sions; the first impressions are most 
reliable. These writers are nimble 
witted, have excellent insight, and 
are not easily deceived, for they grasp 
problems readily and will resent argu- 
ment or criticism or any analysis of 
their opinions by others. They art- 
satisfied with their own view of things, 
and will not be contradicted. Natur- 
ally religious, for their leanings nearly 
always tend to the spiritual, occult, or 
the mysterious. 






When the disconnections are very 
marked. 

(This is a specimen of the hand- 
writing of Paderewski, the emin- 
ent pianist.) 



These writers are rarely practical or 
logical in their deductions. Acta and 
words are largely inspirational. They 
are idealists, guided almost wholly by 
imaginations, impressions, and a bud- 
consciousness of mind that ia psychical 
in nature. In fact, the writers are 

gifted with psychic powers, whether 
conscious of it or not. Artists, poets, 

musicians, or.it ors, Of thotC whoM WOl I 

is essentially inspirational, write with 
very marked disconnected tetto 



54 



GRAPHOLOGY 




y^tyt^rthC 



^jLjWO*' 



Increasing Size of Letters 

When the last letter in a word is 
larger in size than the first letter. 



Reliable sign for conscientiousness. 
These writers are naturally honest and 
straightforward. They place high 
standards for what is right and just, 
and will not swerve from them. They 
value consistency and allegiance to 
principle beyond price. Decision on 
any question is determined by princi- 
ples involved, whatever the circum- 
stances. This sign is rare. 






Decreasing Letters 
When the last letter in a word is 
smaller than the first letter, giving 
the word a wedge shape, as if 
running to a vanishing point. 



Denotes a diplomatic, tactful, shrewd, 
very reserved character. There is 
nearly always evidence of lack of candor 
and of frankness, for these writers re- 
gard expediency of more importance 
than consistency or adherence to prin- 
ciple. They may have conscientious 
scruples, but these are never obtrusive 
or allowed to interfere with their plans 
or wishes. This hand is frequently ob- 
served in business men of large capaci- 
ties in the financial and extensive 
manufacturing interests. The captains 
of industry are rarely exempt from this 
sign. 



GRAPHOLOGY 



55 




^"^^_-*_ «i 



When the last few letters in a 
word dwindle off into mere hori- 
zontal strokes, causing the word 
to be almost indecipherable. 



Finesse and an impenetrable person- 
ality are indicated. 



tu^pJu*J /H ^> tfOVfaMZ**7^ 



Variable size of Letters 

When the small letters are written 
in varying sizes, although the base 
line is even. This form of writing 
is unlike the manner of making the 
letters, shown under Uneven writ- 
ing. 



Persons who write their letters in this 
manner are versatile, with the natural 
ability to do many things well. Gener- 
ally they lack poise, are rather change- 
able, and are subject to whims and 
fancies. There is mobility of feelings 
with mental plasticity and sensitive- 
ness, and a certain amount of inconsis- 
tency, indecision, hesitancy, weakness, 
and sometimes untruth, should con- 
firming signs indicate it. 





Touched-up Letters 

W 7 riting in which some of the let- 
ters have been incorrectly or indis- 
tinctly made and which the writer 
has attempted to correct by going 
over with the pen. 



Love of perfection; desire for im- 
provement. A careful person. 



(The first / in Personally.) 



56 GRAPHOLOGY 



Initial Strokes 

The beginning strokes of a letter. Indicates one having patience and 

When words begin without initial capable of self-control. 

strokes. 



When a letter begins with a little Signifies quickness of temper. 
tick or tiny upstroke. 



■I 



d^SZtjLsi; tr^Cv-t^usk) lb y*-4L,. 






When the letters begin with a tiny Desire for acquisition, love of posses- 
hook. slon > usually an egotistical nature. 

See the / in letter, the w in wish, 
and the h in have. 



When letters begin with a curved Powerful sense of humor; love of the 
or fancy stroke. ludicrous. Buoyant and mirthful 

spirits. A wag. 



GRAPHOLOGY 57 




When letters begin with a long, Impatience. Love of contest ; a quar- 
inflexible stroke. relsome, contentious nature. 






(WV> 



Muddy Writing 
When the down strokes are coarse, The nature tends to ce strual, immoral 
thick, smeary, untidy, occasion- habits; a sensual temperament. Usu- 
ally splotched. Usually occurs in all >' bruta, » mean « Bdfish . wilh animal- 
shaded writing, but may appear in istic tastes ' An amativi " an<1 dimen- 
any style of writing. tive nature A lively imagination and 
J ° quick witted. 

Small Letters Pointed at the Top Signifies keen intellect with an acute 

perception. 
/2J^^7^Z^ <?~^ Cs6sC {/T^t 

Small Letters Rounded at the Signifies a certain dullnesi ol percep- 

Top < ;,,n 



5« 



GRAPHOLOGY 







Divergent Letters 

When the long letters are written 
at different angles. 



The indications for this form of writing 
are a conflict between the dictates of 
the head and the heart. 



The Looped Letters 

Those that rise above the line and those that extend below the line; the 
letters that have graphological value are: b, d,f, g,j, p, /, and the y. Loops 
may be written high or low above the line, or short or long below the line. 
Sometimes these letters are made in the form of a stroke, either weakly or 
heavily written. Tiny hooks may occur at the end of strokes. 





\\ 



When loop letters are more de- 
veloped above, than below the line. 



Denotes idealism; mental and spiritual 
interests are strongest. 




When loop letters are more devel- 
oped below, than above the line. 



The inclination is toward business and 
technical pursuits, with sportive pro- 
clivities. 



GRAPHOLOGY 



59 



ytt (U^CL^Jy >~ rt^rnj^**jLu* 






When loop letters are well devel- 
oped above and below line. 



Indicates a strong imagination; enter- 
prise, organization ability, and self- 
consciousness are shown. 



^Xs-C^t 







When the loops are long and ex- 
tend to the line below. 



Inclined to be romantic and notional, 
and to hold unconventional ideas on 
many subjects. Fond of novelty and 
originality — whatever is odd, appeal-. 
Not much business ability is indicated, 
because these writers are too venture* 
some and speculative, and apt to l*c 
restless with a desire forfrequentcham;e 
and variety. 



When the upstrokes of the lower This sign indicates clannishnrss. 
loop letters curve well to the left. 




When the lower loops arc long and Fond of poetry, mimic, art, or whatever 
rounded. appeak to the imagination, along cul- 

tured lines. 



6o GRAPHOLOGY 




When the lower loops arc inflated, Shows cleverness, lively imagination; a 
that is, wick- and balloon shape quick and vivid fancy. 



When the lower loop letters are Conservation of ideas; practical and 
made with a stroke without a loop. methodical traits; a good deal of firm- 
ness, will power, and self-reliance. 
Some imagination is present, but it is 
held in check. 

When the lower loop letters are Much firmness and determination. In- 
made in the form of heavy strokes. clined to be obstinate; hard to convince. 



When the small letter / is made (a) Indicates hastiness; desire to finish 
with the return stroke to the right a task quickly, (b) A sympathetic 
— not looped. anc * kindly nature; an amiable disposi- 



tion. 



(, K A P II OLOG Y 



<»l 






When the small letter / is made 
with very round, inflated loops. 



Love of pleasure; lack of rcfiectivt m - 
When other signs confirm it, this / 
denotes energy and love of success. 
This style of/ will often he found in the 
script of salesmen, commercial trail- 
ers, theatrical publicity men, 
advertising writers, or of those whose 
natures are buoyant and care- free. 







When the small letter / is made 
with the return stroke turned 
sharply to the left. 



A lazy, indolent nature. May have 
sympathy and l>c kindly disposed, but 
it is not obtrusive. The disposition i- 

vindictive and revengeful. 



When the small letter / is made When the stroke is light tnd m 
with the upper part looped and MgHlfies a frail and timid Datl 
the lower, in a stroke. **■* made ' 1 ** "»■*'»•»«■•'"■ 



62 



GRAPHOLOGY 




When the small letter g is made 
like the figure 8. This form of g 
is always quickly made. 



Rapidity of thought and probably of 
speech may be expected. 



^ 



l%uJ&is*<q <lf£chc<s 6Lf*^s ^ l <^^ '* 



When the small letter g is made 
with a triangle within the lower 
loop (found in the y also.) 



Vanity and ceremoniousness. One who 
is very particular about trifles. Ob- 
stinacy is shown, often accompanied 
by fanatical notions. 






When the small letter g is made 
with the lower part a strong 
stroke, instead of looped. 



Determination and will power. 



** 



a. 




«rucjt 



When the small letter g is made 
with the return stroke curved up 
on the right (found in the y also.) 



Generosity of affection is indicated, 
with an amiable, sympathetic, and 
kindly nature. 



GRAPHOLOGY 



63 



*£^£ 




When the g loop is excessively long. The tendency is to exaggerate. 

When the small letter y is made Generosity of affection with amiable, 
with the return stroke to the right sympathetic, and kindly nature, 
(shown in the g.) 

tSuj&sisVi^j <l^€h€<s 6L>*i^tS ^^**^ 

When the small letter y is made The same as for the g. 
with a triangle within the loop. 

& c/ &' 

When the small letters g and y are Strong likelihood of some bad moral 
made with a flourish within the habit existing, such as a drug addict or 
loop some kindred weakness. 

Small letter y when it ends in a 
stroke, is the same as that credited 
to the g. 

fir -6^ fa-Tn^te^ /* '£**** <fi 



When the small letters g and y are It indicates great tenacity of purpose, 
finished with a stroke, and end 
with a tiny hook. 



6 4 



G R A P II O L O G Y 



Individual Letters 
These have reference to the small letters a, b, d, e, i, m y n, o, p, s, t. 






The sin. ill letters a, 0, d, g, when 
written with the tops left open, not 

closed. 

(The writing in this classification 
must be spontaneous to have any 
consideration.) 



Writers who leave the tops of these 
Utters open, arc- of a frank and out- 
spoken nature, w ho do not hesitate to 
express opinions and feelings freely. It 
is difficult for them to keep a secret, as 
they are inclined to be communicative 
and talkative. They are seldom re- 
served and more often lack poise. They 
possess little tact, and their remarks are 
often ill-timed and indiscreet. Generally 
ready to talk and discuss any subject. 
While sincere, honest, generous, and 
confidential, they are apt to "gossip." 










When the small letters a, o, d, and 
g are written with the tops closed 
tightly. 

(The intent of the writer must be 
evident, to render these signs 
potent; the writing must be spon- 
taneous and deliberate.) 



These writers are tactful, discreet, 
cautious, and of reserved nature. There 
is always a lack of frankness; not in- 
clined to be outspoken or to take others 
into their confidence. They have the 
desire and ability to keep their own 
counsel, consequently can guard a 
secret well. They have an impenetra- 
ble nature. Justice may be expected 
but not much mercy or sentiment. 



G R A PIIOLOC V 






foUL- UJ^ 'fcLf* "^-O 



When the small letters a, o, d, 
are closed and looped at the top. 



This is a reliable Blgll for secret iv< in -? 
and often denotes hypocrisy, which i> 
frequently carried to the ix>iiit of falsi - 
hood, if cornered. The nature is verj 
reserved and uncommunicative; rarely 
talks about personal affairs; i 
not to commit themselves; very difficult 
to draw from them an opinion on any 
subject. 






When the small letters a, o, d, g 
are open at the base. 

(This manner of writing this form 
of a, o, d, g is always spontaneous, 
and it cannot be written by any 
one whose nature is opposed to the 
traits cited.) 



This is a rare form and not often seen; 
well that it is so, for it denotes deliber- 
ate misrepresentation, dissimulation 
and falsehood. If the sign is repeatedl) 
used, the nature tends to hypocrisy and 
dishonesty. 



fivt^tt^y^^ 



/ 



The Small Letter b. 
When written with the incurve, i.e. Usually an egotistical, •elf-app 

the initial stroke begins at the tive, proud, and scll-nhant nail 
right of the letter, swings to the 
left, forming a loop. 



66 



GRAPHOLOGY 




t^£^i^ox h~4 l/C&CZ^- 



The b in before AND believe 

When the small letter b i^ written 
with an initial down stroke made 
heavy, and without the loop. 



Denotes conciseness with practical 
ideas and abilities. A distinctive indi- 
viduality, with originality that is not 
usually commonplace. Often has strong 
convictions. When the initial down 
stroke is not heavy, these significations 
arc modified. 






The b in before 

When the small letter b is writun 
with an initial hook, instead of the 
loop, before beginning the stroke. 



Denotes one who is talkative and fond 
of conversation, chatty, with much to 
say. Usually a rapid and animated 
talker. 



spl4>e?{ £4*Y**^C /t&iA 



•**/ /Hn&c'r 




The Small Letter d 

When the stem is written high, 
either as a stroke or with very 
slim loop. 



Pride and self-respect are indicated. 
These writers always entertain a high 
regard for personal dignity, and will 
never submit to anything that will 
compromise or demean their conception 
of personal quality. They are retiring 
and self-depreciative. When other 
signs confirm it, a high sense of honor 
is noted which may be exactingly strict. 



GRAPHOLOGY 



67 



^t^e^? 




When the small letter d is written 
with a short stem, or made low 
down on the stem, with or without 
loop. 



The significations for this form of d are 
almost infallible. Self-respect may not 
be lacking, but regard for personal 
dignity is less than that shown in the 
high stem, because the writer is willing 
to waive it in favor of some personal 
gratification or profit, considering 
policy of more consequence than prin- 
ciple. This trait seems to be put on 
and taken off to suit the occasion. IVr- 
sons who write the low d stem habitu- 
ally, are rather lacking in a high sense 
of honor, and the conscience is more 
pliable, because more scope for action 
is allowed, without fear of compromis- 
ing the dignity or morals. 



/K-9^L£xe£c<?» U J&^Xs^J' 



When the small letter d is made 
with its final stroke curved upward 
with small backward curl that 
joins the succeeding letter or word, 
or is curved upward at the end of a 
word. This style of the letter d is 
termed the Greek d. 



When other signs agree, this d is indic- 
ative of scholarly attainments, literary 
discrimination, or nicety of tad 
the cultivated arts. It always indicatt s 
talent and culture, and is usually seen 
in the handwriting of pe rs o ns of 
ability, or with those who are more OT 
less accomplished in literary pursuits, 
It indicates fluency in writing, or one 
whose leanings are toward writing, 
either as a pastime or a profession. 



CO+cjfcU& £fl<SlJd*T£<) £fa<Ts*^--j7 1 



When the small letter d is made 
with the final stroke gracefully 



Indicates an analytical and critical 
mind, which is apt to be sensitive and 



68 



( ; R A PHOLOGY 



curved upward and back, at the 
end of a word. This is also a 
Greek d. 



easily prejudiced; the nature is largely 
introsix'ctivo. These writers have 
strong mental cultivation and powers 
of imagination, with an instinctive cul- 
ture and keen desire for learning. 
When this sign is seen in crude hands, 
it indicates aspiration. Writers and 
advanced thinkers, use this form of d. 



**Ar>CS~~ /^4n^«^ /CaS~"* 



When the small letter il is curved 
Upward and prominently to the 
right 



ffJtX^. (Mjvb 



Inclined to be gay, fanciful, and of fun- 
loving nature; the tendency is to be 
coquettish and flirtatious. If in large 
or diffused hand the sign is augmented. 
Love of admiration and a strong desire 
for approval are also indicated. 



/V-A ftV^ 



>vJUwi O o I S-^O^-x 



4n 



When the small letter d is made 
with the final stroke curved up- 
ward and ending in a little spiral 
curl 



Denotes conceit, presumption, vanity, 
or pretension. Given to levity, with a 
shallow and pleasure-loving nature. 
An eccentric and odd manner, that 
betokens absentmindedness. 



a-^yi ^2t? 



Q4 



ZdZsO / _* 



Q~d ^<JL ^cu^ 



■ Ca/0~i^%^ 



When the stem is looped, but not 
large or inflated. 



Usually the sign of sensitiveness; pride 
is easily wounded and the feelings hurt, 
because they take offense quickly and, 
often at little things. It indicates a 
talkative and communicative nature, 
with some oratorical ability. 



GRAPHOLOGY 



69 



£^A^£ 



/Y*~"- 



When the upper loop is inflated. 



Denotes unreasonable sensitiveness and 
general morbidness of mind, particu- 
larly on the subject of one's pride and 
rights. 



-fajL4AJLjf~i* ' A^x^/ Cf 



When the final stroke of the d ex- 
tends below the line. 



Denotes a person who is strongly 
opinionated, with decided views and 
strong convictions, and usually with 
narrow prejudices. Obstinacy is 
nearly always shown; will stick to an 
opinion. 



^J?s a^lduAA c^vpl oiu^ 



When the upstroke of the d is 
separated from the down stroke, 
and at the left of the stem. 



The signification for this sign is 
taciturnity; has little to say, but may 
be a good listener. The writer has the 
ability to deceive but does not intend 
to do so. 



^AjLO<A^ / 0» 



X^Ljl. 






When the stem is pointed — the 
down stroke is retraced over the 
upstroke, giving the appearance 
of having been made with one sin- 
gle stroke. 



The general signification for th 

is sarcasm but the writer may otherwise 
have an amiable, kindly dispt 
until aroused, when the al>ilit> 
sharp and cutting things, and use sar- 
castic terms, hei omes manifest. 



70 GRAPHOLOGY 



Zf 



y&*^w^y^ 



<Z-^Cc~*i. 



The Small Letter e 

When the small letter e is made in Denotes a nature that is acquisitive of 
the form of the Greek character, or knowledge; desire for culture and edu- 
like the capital E. cation. This sign is frequently seen in 

those who are unconscious of having 
any such inclinations. 

The Small Letter % 

This letter is fraught with much meaning, and should be carefully con- 
sidered in making an analysis, the manner of making and placing the dot 
being the factor. Thej dot has the same qualities. 

When the small letter i or j is Usually a poor memory; thoughtless- 
undotted. ness; liveliness. In most cases it 

indicates an untidy, heedless, slovenly 
person. Always denotes haste and lack 
of concentration. 



When the dot is placed at the right Quickness, vivacity, animation, impul- 
of the letter, not too high or too siveness, and impatience. Usually an 
l ow# inconsiderate, ardent, happy-go-lucky 

nature, wanting forethought. 



I l^£u^u% £*st j/C&C-r* 




The i in believe 

W 7 hen the dot is placed high and Impulsiveness, generosity, and aspira- 
to the right of the letter. tion with active imagination. Enthu- 

siasm, enterprise, and curiosity are 
displayed. 



GRAPHOLOGY 7 1 



*u 



, uulpUJ^ M- 5^f" 



When the dot is placed to the left, Denotes deliberation and slowness, 
or over the letter, but not close with the tendency toward procrastina- 
to the stem. ' t ^ on ' ^his s 'S n * s not » however, as relia- 

ble as the t crossing to the left. Usually 
difficult to make up the mind on any 
undertaking, or to carry out a purpose. 
These writers lack steadfastness and 
continuity of thought. Mind and ac- 
tions do not always work in harmony. 
An apprehensive, over-careful, and ner- 
vous disposition. 



When the dot is placed close to the A retentive memory. Carefulnes 
j etten tion, and lack of imagination. Atten- 

tion to details; reflection and good 
judgment. Seldom carried away by 
enthusiasm or hero worship; rarely 
romantic or visionary. Powers of men- 
tal concentration strong; the capacity 
for protracted attention and Study in 
some one direction. Exactness, 



^\Jk<J^~s 



^ r~\ w 



y . U 



When the dot is made lightly, If other signs confirm it, the ino 
but firmly. is m,)ral courage, rhese writers dare 

to do what the) believe is right, with- 
out fear of i ritidsm or ol the i 

quen 



72 



(i R A 1' II O LOG V 



/^-A fT V>^ 






■hi 



When small circles are used in 
place of dots. 



The sign may be attributed to threat- 
ened mental disturbance or ignorant 
eccentricity. In cases of Suspected 
mental disturbance the writing will be 
individual and well balanced, the cir- 
clea supplying the first hint of derange- 
ment. Used as an eccentric fad, the 
habit will pass off as soon as the writer 
develops in mental strength, and 
assumes responsibilities that compel 
him to relinquish faddish notions. 




When the dots are made large and 
heavy. 



Materialism, or a nature yearning for 
worldly pleasures and enjoyments. 
When extremely large and heavy, it 
indicates an ungovernable temper, 
with strong passions, if not an abso- 
lutely brutal tendency. The nature is 
usually assertive. 



l£Jo cl'-^^^-^t 



y / 



When dots are made like horizon- 
tal dashes. 



The indications are an energetic lively 
nature. 



GRAPHOLOGY 



sC^-C^t 







When the dots are made like de- Opinionativencss and physical courage 
scending dashes. are indicated. 




When dots are made like wavy 
dashes. 



Love of fun, and humor; a li^ht- 
hearted nature, with slight incou 



dMuiitkc U tii 1£ol4 



When dots are angular and irregu- 
lar in form, at times a dot; at 
other times a dash; now and then 
curved or straight dashes. 



Irritability and more or lesfl ODCttabk 
temperament. 






When the dot is made club shape. 



Brutal potentialittei are Ind 

with an .11 tIV« and mat t-ri.ili>t V 
tality, tending to wh 

■ensual. 



74 



GRAPHOLOGY 



-^C^»-^ 



(J 



^A 



\K^ 



13 



The Small Letters m and n 
When these letters are written like 
the small letters w and //, in the 
concaved form, or abducent writ- 
ing. 



Adaptability, suavity, kindliness, and 
a good mixer. Usually alert and quick 
to grasp problems. 



yntoeCuL eX*G<t*t/ (Uuvuucfct 



When these tetters are written in 
the conventional form with the 
tops rounded — the adducent form. 



An unadaptable, simple, but honest 
nature. Usually in the industrial class, 
as mechanic or tradesman. Few hold- 
ing clerkships write this style of hand. 




The Small Letter p 

When the lower loop of the small 
letter p is made long, and sweeps 
well up on the left of the letter. 



Physical agility, love of exercise, of 
athletics, and of all outdoor sports and 
recreations appeal. Usually of good 
muscular development, they make good 
dancers; sports of all kinds, calling for 
physical exercise are attractive. Art 
and poetry, with musical tastes, are 
highly developed. When the lower part 
of this letter is made in the form of a 
stroke, instead of loop, the above signs 
are accentuated. 



When the stroke or loop of the 
small letter p is made long above* 
and short below, the line. 



It indicates physical weakness, due to 
advanced years, infirmity, or mental 
lack of vigor, but it is not indicative of 
physical illness. 



GRAPHOLU(. Y 



(0 



"^^ '*&~c^/ '^z^JC 

When the letter p is made with the The general signification for t! 

lower point sharp and the upstroke is aggressiveness and sometimes iniua- 

ascends on the right of the stem. tiveness. 

When the stroke or loop is made Indicates muscularity. 

short above and long below the 

line. 



-^£&^. 



When the lower point is not sharp A peace-loving disposition, 
and ascends upward on the left of 
the letter. 




The Small Letter s 

When the small letter s is closed 
with a loop, as if tied in a knot to 
the upstroke. 



Some authors insist tli.u this sign indi- 
cates lack of cinder. .m<l .1 disp 
to dodge the truth on co asion; thai 
they .ire persons whose assertions must 
be accepted with allowance; ran 
be depended upon for frankness and 
arc not always straight-forward in 
business dealings, I rhe author of this 
work has been able, on man] 
to confirm this sign, but holds 

opinion th.it it i> not S r.-lial-'- 

the text furnishes additional 
t \ idence to support it.) 



J() (iRAl'HOLOGY 



THE Small LSTTEB / 

This is one of the most important letters in the list of graphological signs. 
The / bar is the principal feature, and its strength, manner of crossing, 
length, and other formations of the bar, determine its value. 

When the stem is carefully crossed. When the / bar shows that it has been 

This means that the bar is neither deliberately placed on the stem, with- 
on the right n«»r on the left of the oul (lash or hasU '- il denotes a careful 
stem, but carefully se1 across it. and painstaking person, with good will- 
power and constancy of purpose. It 
denotes a calm, sure, certain, even 
character, with good determination 
and executive ability in a trained hand. 
In the untutored hand it denotes 
moderation and, probably, mediocrity, 
but always conscientiousness with 
more or less deliberation and firmness. 

When the t is heavily crossed, Denotes firmness, much will power, de- 
usually across the stem. termination and aggressiveness, with 

assurance and self-reliance. Force of 
energy, physical courage, daring and 
persistence of effort are indicated. 
When the bar is long and the crossing 
is heavy much assertiveness and often 
a defiant air in manner are shown. 



JuJZLlsu $^Ur-*^£>& 



Ct+*-£> 



W 7 hen the t is weakly crossed, Denotes lack of strong will power, 
meaning that it is carelessly made, Usually without much force of char- 



GRAPHOLOGY 



with a thin, listless stroke whether, 
across the stem or above it or to the 
right or left of the stem. 



acter, and lacks firmness and d< 
Writer is not likely to 1><- i 
aims and purposes, and may be 
dissuaded; the DatUT illating 

and irresolute. Often has m 
and commonplace capabilit 



ir^^S^Ar ymas^l^t Vm 



When the / bar is placed to the 
right of the stem (weak strokes are 
rarely made to the right of the 
stem.) 



Impulsiveness, quickness, animation, 
and hastiness. When bar flies off from 
right of the letter without touching it. 
it usually signifies impatience. Tin- 
initiative faculty is promt in .1 corre- 
sponding degree, with enterpn 
thusiasm, curiosity, and ambit 
ways indicated. 



tfMalt^c A & t^ok* 



When the / is crossed to the right, 
in the angular hand. 



Denotes a quick temper; intolerant <»f 

reproof or restraint. Often 1 
writers are aervoufl and irritable; re- 
marks are BtingJng, W h< D 

annoyed. 



~r 



^U^ 7^ 



When the t is crossed to the left of 

the stem. 



Tin's is the infallible sign for : 
tination. The h. ii.it of puttii 
Cannot be depended upon to fulfill 
promiaes, bowei er well in*' • 
slow, hesitat 

persons may !"• extremely m th 
appear to be busy .ill the tin 
probably are, but • ompliah 

little in the long run of this 

lack of de and pur 

habit. 



78 



(i R A P II O L O G Y 



V 



£CM*<**< 



■ >i^rgM<yVi Cn+~**. \Q 



When the / bar ascen Is. 



One who is hojx*ful hut inclined to be 
imaginative and fanciful. Generally 
ambitious with many irons in the fire. 
Apt t<» take an optimistic view of 
things. When the hai is very ascending, 
imitation and mimicry. 






When the / bar descends. 



Usually an unambitious nature. Apt to 
be obstinate and self-willed. When 
very much downward, great persever- 
ance and misdirected energy; apt to 
persevere when good sense would direct 
one to desist. Likely to be pessimistic 
and opinionated. 



»o , o^nsu^f xf , ^f~ 

When the final stroke of the stem The writer has decided views on many 
extends below the line. subjects and strong convictions, with 

usually narrow prejudices. 

When the t crossing is made in the Always sensitive; a conceited and ego- 
form of a triangle. tistical nature, which carries with it a 



certain reservedness. 



GRAPHOLOGY 



79 






$<ZX) / 



When the stem is looped. This fea- 
ture applies also to the small letter 
d. See t in toil. 



. C4/0~u**~ 



Usually talkative and communicative. 
A sensitive pride, which mala 
quick to resent any reflection upon 
personal conduct; takes offena 
readily. Often a shallow inteU 



When the t stem is made pointed; Writers of this style of / are reserved 

no loops. an d dignified. 

When the stem is opened at the Deception and evasion, not always 

bottom, like an inverted V. intentional. 



|W Z6* <6nrt^ <4 'M 



When the t bar is placed high above 
the stem, in any angle. 



(a) A lively imagination, tending to 
dreaming, and * ftbtent-mindi 
Highly aspirational and \ ; 

builder of air-ci 

■noe, resistance, and love of authont\ 

indicated, (c) When in commonplace 

writing. ■ conventional nature with 
prejudices. 



80 (iRAPHOLO G Y 



When the / stem is left uncrossed, Lack of retentive memory. An acqui- 
without the bar. escent nature, lacking force of char- 

acter; little, if any, resistance power. 
Usually lack of purpose or determina- 
tion. 



When the Stem is sometimes un- An irresolute, vasodilating nature, with 
crossed, and at other times crossed. M undecided disposition. 




'^~ 4lSts4/f SZ^L. ^X 




When the stem is uncrossed, but is Lack of initiative and will power and 

finished with an angular final up- some obstinacy. 

stroke. 



When the t bar is irregular in shape. A capricious, volatile, unstable char- 
acter, hardly to be depended upon. 



When the bar is uniformly thick Thoughtful and serious turn of mind, 
and regular. Quiet decision, calmness, composure, 

temperate nature. 



G R A V II L O G Y 81 



When the bar is long, fine, and of Energy, ardor, ambition. 
equal thickness throughout. 



Cux^<^t-i^ & 



When the bar is long and crosses Impulsiveness; an unobservant nature. 
two or three letters. 

When the bar is long, thicker at Arbitrary will, 
finish than at start, and crushed 
down on the other letters. 

When the bar is sometimes long, Imagination, fantasy. Music< 

other times short, now and again frequently use this form d I 
a mere dot. 

(A well known pianist and writer 
of musical compositions.) 

When the bar (lies into the letters Animation, impulse, vivacity, a 
of the next word. of ideaa, and a jovial nai 



82 GRAPHOLOGY 



*o 



, aJIpuJ^ Jof", *£f~ 



When the bar is stronger and Great determination and strong will, 
thicker than the down stroke. 




When the bar is short and thick Contrariness of thought, action, and 
and crushed down on the stem. strength of mind. 



When the bar is very long and Indicates will power, 
strong. 

<AA*krdo ~db^bpJ~^, tit 1 

When the bar is club shaped. Brutality and inconsiderateness shown. 



When the bar is light and short. Nature is easily imposed upon. 



■ iiuCa t^~ Uu, U Lc^ M~~h 

When the bar is spear shaped. Inclined to be sharp and sarcastic in 

speech. 



GRAPHOLOGY 83 



When the bar is curved like a bow A change in the impulses and passions 
with the ends downward. that were once strong, now cJk 

and under control. 



sOt^d^L 




stU^a 



When the bar is curved like a bow, Of shallow nature, too emotional, and 
with the ends upward. of yielding disposition. 



y/ / 

When the bar is wavy. F"". humor, jolly disposition, but in- 

constancy in affection. 



When the bar is short and arrow- Domineering, satirical, and 



like. nature - 



When the bar is dot-like and ex- The power ot observntioii with the 
tremely short. faedty of seen* n«>reaatrvel 



M4 G R A P li O L o t. V 



CLAAj^laX^o^^ <_^ ipC^^SUuLi 



When the bar is curved at either Denotes a light mentality, 
end and scroll Bhaped. 



-Uc6> ^-tkrk^zrfirt 



When the bar la long and pointed Signifies meanness, malice, and anger 
at its finish. 



dtzfr* 



When the bar is made with a tiny Tenacity of purpose and firmness. 
hook at its finish. 



^y 




When the bar is made in the form Effusiveness and fancy, 
of a lash or whip. 



When the bar is flourished. Imagination, pretension, egotism. 



G RAP H O L O G V 

When the bar is substituted by a Persistency is always shown in one 

looped triangle low down on the form or another. 

stem. 



86 GRAPHOLO G Y 



A SPECIMEN ANALYSIS 

In making an analysis from a specimen of handwriting, the 
student should make notes of the signs in the script, and jot 
them down with their meanings. Having completed the list of 
signs, arrange them in the order of their classification, as indi- 
cated in the Elements of Graphology, which, as previously stated, 
should be memorized, precisely for the reasons now being dis- 
cussed. The first of these elements is style, the second is slope, 
etc., etc. Continue in this manner throughout the entire 
specimen, until all the features have been dissected and their 
meanings applied. You are now ready to delineate the letter, 
which you do by neutralizing the signs, grouping the character- 
istics that are similar, or combining related traits of character, 
for the double purpose of making the delineation accurate and 
to prevent verbosity. 

This plan of separating the signs, and giving them their 
meanings, and arranging them in classified order, insures accu- 
racy, and prevents too much dependence on the memory, for 
the best of us are not too well equipped with unfailing memory, 
at least, until we have become thoroughly familiar with the 
signs and their order of procedure, and have had experience 
enough to trust the memory. Skilled graphologists become 
adept in reading the signs, and may not always need these pre- 
liminary memoranda, unless a record of the script is desired for 
riling away for future reference. 

Unless some standard form of a record sheet is employed, the 
student will be required to make this record every time he 
analyzes a specimen. This entails much time and labor. On 
page 122 will be found a specimen record form, similar to that 
used by the author for several years, in his professional 
work, and which has proved its utility as a permanent record 
of the specimen analyzed, to which frequent reference was 
often required to ascertain change of character in applicants 
who have held positions one year or more with the same 
firm. 



CHARLES E.FRANCIS 

Attorney and Counsellor at law 

ISO Nassau Street 

Manhattan New York City 



TtllPMONE CONNECTlOl 



(fa**. &/ Wf. 

Rcouu irctvd Ouuce^^ Out TcLl/JUS tJaMxru^ 

^^Slcl quo Ctxjo tjcaxJtr (QJU^tccLsu -tt iocxKL 
vZ<*rtz£jzj dj It^ocy^o a^rfjL ***** O^oJ CovcnJ^ 




88 G R a P ii o i. o G v 

This record form may be had in printed sheets, of convenient 
size, containing all the classifications, in consecutive order, by 
which the student may record any specimen of handwriting, and 
use it as a working sheet, and also for filing away for future 
reference. These record forms are put up in pads containing 
ioo sheets, and the cost is nominal. These pads may be ob- 
tained from the Gregg Publishing Company. 

A SPECIMEN ANALYZED 

In order to give the student a practical example of the 
method of making an analysis, and of writing a delineation 
from the analysis, the following illustration is presented. A few 
lines of the first page and a few lines of the last page, with sig- 
nature, are given ; in every other respect the specimen is intact 
and in the original size. 

This writer possesses a keen intellect with an amiable disposi- 
tion and fun-loving nature. He is bubbling over with levity 
and good nature. (Abducent writing, wavy t-bars shown in 
the crossing of the fs in Smith, in time, in exact, in competent and 
in great.) The power of observation with the faculty of seeing 
appreciatively are strongly marked, (t-bars are extremely 
short.) Impulses and emotions, however, are under control, 
although the nature is unambitious, due to pessimistic and 
opinionated tendencies. (An occasional descending t-bar, others 
curved like a bow with the ends downward, the first t-crossing 
in interested on the first line ; t in it on the seventh line and in 
persist on the tenth line. The script denotes a nature that is 
acquisitive of knowledge, with keen desire for culture and 
what is refined and proper. (Persistent use of the Greek e 
and d, modified by the occasional ending of the d stroke in a 
spiral curl, which indicates a too pleasure-loving nature; some 
vanity and coquetry.) Business instinct is strongly indicated 
as well as enterprise and organization ability with a vivid imag- 
ination, that renders him resourceful and quick to see an 
advantage. Loop letters are well developed above and below 
the line, those below line being especially so. 



G R A P H O L O G ¥ 



89 



His instinctive mind, modified by rare deductive powers 
denotes one having patience, and capable of self-control, 
particularly so under trying circumstances, as in debate and 
in heated arguments when his versatility becomes manifest 
(The equal use of disconnected and connected letters, tin- absence 
of initial strokes, the closed a and 0, and the general lv firm / 
crossings.) Judgment of matters and people are dictated by 
an inner consciousness, for he is quick of comprehension, 
critical, analytical and is usually a good judge of character. 

Tact and a reserved, conservative, discreet nature are 
shown, with a well-ordered mind. He rarely acts ha>tilv in 
matters of business and never becomes confused or excited; 
these are the attributes of an astute and judicial mind. (Closed 
a and 0, well-spaced writing, straight base lines, pointed tope 
of letters and large lower loops.) 

His fun-loving nature is so strongly marked that he often 
misses opportunities for substantial advancement, when bis 
light-heartedness and high perception of things beautiful tend 
to sway his otherwise staid demeanor. His artistic taste- are 
highly developed and, if cultivated, would prove pleasing and 
attractive as a pastime or a business venture. (The tendency 
to ornate writing, shown in the capital M in My and Mr, and 
the graceful formation of his signature.) The signs, however, 
indicate a bit of egotism and mild conceit, with marked desire 
for approbation, weaknesses that arc pardonable in a char- 
acter so full of achievement. 

The total absence of shading in any of the down strokes is 
indicative of quiet, modest tastes with tendencies to a complai- 
sant and simple disposition, with delicate sensibilities, tem- 
perate habits, and an unobtrusive manner. A hi 
honor and kindly consideration for others are characteristic 

The student may proceed in this manner, until all trait- 
propensities have been noted, excluding of course the technical 
references printed in italics, which are written here for his 
benefit, showing the features to which the interpretations refer. 



90 



GRAPHOLOGY 






~ £**** &•*>+£*"{ 




^^^^U^ 



Z^I^U^uw ~ZJ c *7 r 



<°c. //. 




^ 



3r£je^rzy&criJ&. /\r-^&J2^?~~ 



^js/2«^^/&lJ* 






17 



K^k; <ffffi*^leus~-'i 9 *jfa*%frzc+ 



20 



SIGNATURES OF DISTINGUISHED PERSONS 



GRAPHOLOGY 



91 



SIGNATURES OF DISTINGUISHED PERSONS 

The following is the key to the Signatures of Distinguished 
persons appearing on the preceding page. The interpretations 
were deduced from the chirographic signs displayed in each 
specimen, and according to the rules of graphology, and not 
from what the author may know of these personages from 
historical knowledge. Broad-minded and truly great men write 
plain signatures; this reveals their characters. 



No. 


1 


George Washington 


An intuitive mind; social >le and 
humorous. 


No. 


2 


A. Lincoln 


A keen intellect; resourceful. 


No. 


3 


U. S. Grant 


Virility; energy; protectiveneSB. 


No. 


4 


Grover Cleveland 


Keen, concentrative mind. 


No. 


5 


W. J. Gaynor 


Highly developed mentality; irri- 
tability. 


No. 


6 


Wm. H. Taft 


Refined; whole-souled; hearty; 
jovial. 


No. 


7 


Ex-Emperor William 


Intriguing nature; arrogant; self- 
laudatory. 


No. 


8 


Queen Victoria 


Arbitrary will; impulsive. 


No. 


9 


William McKinley 


Will power; drip thinker. 


No. 


10 


C. H. Parkhurst 


Logical reasoner; studious; am- 
bitious. 


No. 


11 


Theodore Roosevelt 


Determination ; resoluteness. 


No. 


12 


Mary Baker G. Eddy 


Will power; logical thinker. 


No. 


13 


T. C. Platt 


Ambitious; acquisitive. 


No. 


14 


Wood row Wilson 


Clearness of perception; diplo- 
matic. 


No. 


15 


Seth Low 


Dignified, courteous, charming 
disposition. 


No. 


16 


W. J. Bryan 


Intuitive; indiscreet; venture- 
some; selfish. 


No. 


17 


John Adams 


Calm, deliberate judgment. 


No. 


18 


Chester A. Arthur 


Introspective; self-centered. 


No. 


19 


Thos. R. Marshall 


Sensitive; jovial nature; simple 
tastes. 


No. 


20 


W. E. Gladstone 


Brusqueness; severity; justice. 



GRAPHOLOGY 




GRAPHOLOGY 



93 



MEN MORE OR LESS IN THE PUBLIC EYE 



1. R. E. Peary, U. S. N. 

2. Charles W. Fairbanks 

3. A. Con an Doyle 

4. Richard Croker 

5. Andrew Carnegie 

6. Elbridge T. Gerry 

7. Saml. Gompers 

8. Chauncey M. Depew 
9'. Hudson Maxim 

10. C. Matthewson 

11. R. G. Ingersoll 

12. John Hay 

13. Charles E ; Hugh is 

14. John Ireland 

15. Leo Tolstoy 

16. Thomas A. Edison 



Masterful; self-reliant; marked abil- 
ity. 

Quiet and modest tastes; complai- 
sant nature; temperate habits. 

Excessive calculation; solicitude and 
extreme forethought; inquisitive- 
ness. 

Assertiveness ; physical courage with 
material likes and dislikes; opin- 
ionated, with strong convictions. 

Quick and ready mind; self-confi- 
dence and self-reliance ; deep think- 
er; brusque but honest. 

Resourceful, masterful, quick think- 
er; leans to the material; not 
spiritual. 

Delicate sensibilities; cautious; pru- 
dent. 

Sensitive nature; cautions; prudent; 
alogicianandinvesti.ua tor; mirth fnl. 

Highly developed sense of propor- 
tion, harmony, and adjustment. 

Great determination and resist ance 
power; perseverance; opinionated. 

A restless and unsettled disposition; 
intellect is warped. 

Broad visioned; ambitious; forceful 

and strong personality. 

Quick and ready speaker and thinker. 

An indecisive nature, lacking power 

for expansion, yel endowed with 

an open mind. 
An inspirational. psychic mind, 

fraught with benevolence and 

kindness. Very broad intellect. 

Equipoise; the creative, constructive 

mind; simple tastes and desires. 



94 



GRAPHOLOGY 









16 

6 / £W^_.^..^r IS 




^%V1^^ ^ 



&e/VrrU3u*i*2 



SIGNATURES OF MUSICAL CELEBRITIES 



(1KAPHOLOGY 95 



SIGNATURES OF MUSICAL CELEBRITIES 

The autographs of individuals shown in this work are not dis- 
played wholly for the interest that is attached to distinguished 
characters, but they are included as a means for demonstrating 
the psychology of environmental influences on the human in- 
tellect as a developer of habit. 

The signatures printed on the preceding page are musical 
celebrities gathered from the four quarters of the globe. Each 
is imbued with the same spirit of "tone expression" that is 
characteristic of musical geniuses the world over. This is con- 
clusive evidence that music is an outpouring of the soul, an in- 
spirational instinct that cannot be otherwise than a sublime 
impression of mind. 

Notwithstanding the similarity in musical instinct, all these 
distinguished persons possess different temperaments. While 
this similarity of musical expression is shown in the several 
specimens there are no two alike. This suggests that habit 
controls the character which is expressed in handwriting, pre- 
cisely the same as one's personality controls speech. 

These expressions occur in every individual whose mind has 
been trained to think. The higher the intellectuality the more 
prominent the signs. The physician thinks along physiological 
lines; the lawyer, along judicial lines; the thcologician, along 
spiritual, etc. These concentrations of mind create hal >it ; hal >It 
makes character. Persons with musical talents, particularly 
when highly developed, become inoculated with the spirit of 
rhythm, tone, and harmony. It is natural for their impressions 
to be reflected in their handwriting, because this outward mani- 
festation of individuality is controlled by the emotions, and 
every emotion finds some form of expression in writing. 

It is interesting to observe the receptivity of mind of public 
entertainers. When the plaudits are spontaneous and pro- 
longed, the performer is enthused to higher and better effort. 
The sensitiveness and superstitions of theatrical folk are 
proverbial; adverse criticism or lukc-warm recognition ol their 



96 GRAPHOLOGY 



offering results in despair and complete mental collapse. Pro- 
fessional entertainers are overwhelmingly conceited and 
impressional ; they seek and expect to receive applause, for 
they love to be admired and acclaimed. Approbation is 
their mental food. 

No. I. Olive Fremstad. Great tenacity of purpose; a bit stub- 
born, and an aggressive nature; moral courage and 
refinement; sensuously musical. 

No. 2. Dr. Richard Strauss. Inspirational; resourceful with 
practical ideas; simple in habits; indifferent to luxury; 
good business instincts; tune and harmony strongly 
indicated. 

No. 3. Lillian Nordica. An acute mind ; fine literary discrim- 
ination; culture and refinement clearly indicated; sen- 
suously musical. 

No. 4. Enrico Caruso. A complaisant nature; love of admira- 
tion and approbation ; tends to the material rather than 
the spiritual ; the musical score is very high. 

No. 5. Nellie Melba. Morally courageous; sensitive and 
jealous; prudence with a sense of reputation and char- 
acter that is upheld at all costs; musical tastes highly 
developed. 

No. 6. Raphael Joseffy. Resolution; firmness with conserva- 
tion of ideas; imaginative and idealistic; animalistic 
nature; musical tastes highly developed. 

No. 7. Richard Wagner. Keen sense of the spiritual ; creative, 
imaginative, and inspirational; musical sense strong. 

No. 8. Fannie Bloomfield Zeisler. Calm, deliberate nature; 
physically active, with good business instincts; rhythm 
and harmony highly developed. 

No. 9. Anton Rubenstein. An acute mind with strong preju- 
dices ; apt to be erratic and whimsical ; self-glorification 
and pride; intense musical feeling that is almost sen- 
suous. 



G R A P II O L O G V ()J 



No. io. Anton Seidl. Masterful; keen and deductive mind; 
instinctively careful and prudent; practical turn of 
mind ; pride and self-esteem with musical talents highly 
developed. 

No. II. Adelina Patti. Ideas are dainty, sublime, idealistic; 
love of admiration, display, and some ostentation; 
musical talents are sensuously prominent. 

No. 12. Victor Herbert. Constructive ability; practical ideas 
and aims; proud, self-reliant; an insistent nature; love 
of admiration is strong. 

No. 13. Franz Liszt. Impressional and luminous mind ; a perspicu- 
ous, lucid intellect; tune, harmony, and "tone" color 
highly developed. 

No. 14. Olga Samaroff. Conservation of ideas; imaginative; 
idealistic; quick and ready mind ; apt to be boastful and 
ostentatious. 

No. 15. Theodore Thomas. Good business instincts; construc- 
tive mind; highly intuitive; inspirational; musical signs 
are indicated. 

No. 16. Fritz Kreisler. Simple tastes and ambitions; inspira- 
tional, keen judgment; musical and artistic ambitions. 

No. 17. Josef Hofmann. Dexterous, clever, original, constructive ; 
matter-of-fact nature. 

No. 18. Maud Powell. Mistrust and subtlety of nature; vanity 
and love of display; desires approbation; musical powers 
are highly developed. 

No. 19. Mischa Elman. Cautious, prudent, and conservative 
nature; soaring ambitions with love of display and ad- 
miration indicated. 

No. 20. Ernest Hutcheson. Highly trained mentality; imagina- 
tive, with quick perception without conscious reasoning; 
musically sensuous. 

No. 21. Emma Eames Story. 1 )i termination, firmness, will power, 
and courage; originality of ideas; clever, versatile, and 
logical. 



9 8 



GRAPHOLOGY 



No. 22. Walter Damrosch. Self-conscious nature; originality 
and self-reliance; imagination; fantasy; usually impa- 
tient. 

No. 23. Josef Stransky. Practical turn of mind; strong reasoning 
powers; instincts of a good business man; talent for 
music and art strong. 

No. 24. Vladimir De Pachmann. Unassuming, modest, righteous; 
moral, clean nature; highly inspirational; a calm qui- 
escent disposition, modified by a love of approbation and 
admiration. Has musical soul. 



PROMINENT ACTORS, ACTRESSES, OPERA SINGERS, 
MUSICIANS AND COMPOSERS 

1. Marcella Sembrich Inspirational, with love of admiration. 

2. I.J. Paderewski Love of display; mistrust and subtlety of 

nature. 
Protectiveness; vanity; simplicity of 
tastes, although a slightly intriguing 
personality. 

Love of admiration; a complaisant na- 
ture. •« . • 
Irrascibility; brusque but honest nature. 

6. Guglielmo Ferrero Good natured; benevolent and gracious 

of manner. 
Strong reasoning powers; culture; peace 
loving nature. s 

Coquetry and fun loving; loves to be 
admired ; tenacity of purpose. 

Courage with a certain sensuousness and 
love of finery. 

Depreciative nature ; generosity strong. 

Great tenacity of purpose; physical 
courage and sensuousness of form and 
display. 



3. Mendelssohn 

4. Enrico Caruso 

5. L. von Beethoven 



7. Wilton Lackaye 

8. Luisa Tetrazzini 

9. Mary Garden 

10. Elsie Janis 

11. Ellen Terry 



GRAPHOLOGY 



99 




IOO G RAPHOLOGY 



12. Emma Calve Lover of the artistic; an aesthetic nature; 

faddish. 

13. CLARA L. Kellogg An insistent nature, in which the materi- 

alistic is strongly manifested; selfish. 



REPRESENTATIVE VAUDEVILLE ARTISTS 

The men and women who are affiliated with the vaudeville 
branch of the theatrical profession represent a distinctive ele- 
ment among public entertainers in that they are individually 
expert in some particular novelty, excelling in it according to its 
Specific character. The few specimens of signatures shown here 
are among the "top notchers" in their profession. Each one is 
representative of their special calling. The tendencies seem 
comparative, in that all show more or less of imagination, 
versatility, and earnestness, yet are lacking in the higher 
attainments possessed by professionals in the drama and oper- 
atic lines; they all possess the same love of admiration and 
approbation which are characteristic of them. 

Xo. 1. George Beban. Great determination and tenacity of pur- 
pose; desire for culture and education ; a certain refine- 
ment and aspiration for the idealistic. 

No. 2. Blanche Bates. An insistent, stubborn nature; highly 
imaginative ; strong willed ; extremely affectionate. 

No. 3. Marshal Montgomery. An insistent, persistent, stub- 
born nature; vivacity, quickness, animation, with much 
hastiness; intolerant of details; great tenacity of pur- 
pose. 

Xo. 4. Eva Tanguay. An erratic, animated, vivacious nature; 
great physical alertness and restlessness; cautious; sus- 
picious. 

No. 5. Irene Franklin. Self-interest is the governing motive; 
self-conscious nature; seldom does things impulsively; 
little regard for authority. 



GRAPHOLOGY 



lOl 




ro I 



102 GRAPHOLOGY 



No. 6. Lillian Russell. Quietly self-appreciative nature; fond- 
ness for approbation strongly indicated; vanity and a 
bit of egotism, with love of display and pride. 

No. 7. Fay Templeton. Guided largely by impressions; mild 
eccentricity, and slight exaggeration; a vainglorious 
nature; quick, observant, and critical. 

No. 8. Gus Edwards. Practical turn of mind; argumentative 
and skeptical of what is not at once understood ; opinion- 
ated with decided views. 

No. 9. Jim Corbett (James J. Corbett). This specimen written 
in so free and friendly a spirit, signifies a kindly and 
affectionate disposition, unostentatious and unpreten- 
tious. The object of this specimen is to show a signed 
name stripped of all formality, in which the professional 
glare lias been unconsciously removed. 

No. 10. EVELYN Xksbit. Reason and self-interest are the govern- 
ing motives; accepts little on faith ; love of pleasure and 
comfort, actuated by strong animalistic instincts, as 
opposed to the spiritual. 

Xo. 11. Victor Moore. Lacking a strong, resolute nature, modi- 
lied by cleverness and powers of mimicry; immoderately 
ambitious. 

Xo. 12. May Irwin. Clannish with great love of kin; versatile, 
ambitious, jovial nature; endowed with strong common 
sense. 

No. 13. Gaby Deslys. An avaricious, grasping nature; desire for 
gain; cautious and suspicious; headstrong and opinion- 
ated. 

No. 14. Emma Carus. Versatile; brilliant; mental activity of a 
very pronounced description; love of display, admira- 
tion, and approbation; a slightly intriguing nature. 



GRAPHOLOGY 
ABNORMALLY LARGE HANDWRITINGS 




(The original of this letter is about ten per cent, larger, the reduction being 
necessary to fit this / 



io4 



GRAPHOLOGY 



ABNORMALLY LARGE HANDWRITINGS 



WLlWu 



(Facsimile) 



G k A V II OLOG \ 



IMS 



ANOMALIES OF HANDWRITING 

ABNORMALLY LARGE WRITING 

The specimens shown on the two preceding pages indicate 

the synthetic rather than the analytical mind. 

These specimens were written by ladies of the English 
nobility whose lives are pampered and petted; whose ever) 
material wish is granted, rendering them extremely sensitive 
concerning their favored surroundings, and jealous of their 
social standing. 

Compared with people of normal living and habit- these 
persons of the "upper class" must find an outlet for their 
effulgent ideas about entertaining and of being entertained, for 
they are wont to live and do things in a larger way than those 
living in a lower plane. This habit of being "big" is reflected in 
the handwriting. 

This bold style of writing proclaims the individuality of the 
person; it says as clearly as anything can be said: "I am big; 
I am lofty; I am grand, august, and divinely selected to be 
your superior." The script suggests a natural tend* nry to dis- 
play outwardly the person's manner of carriage, poise, and 
station; the expression of self; they feel a right to be big, dar- 
ing, courageous, bold, proud, resolute, and critical. 

When the emotions have been over stimulated the impulses 
become correspondingly aggressive, rendering the nerve forces 
active under great tension, which draw heavily on the physical 
resources, and threaten the vitality. This sapping of the * ital 
fluids, sooner or later warps the intellect and weakens the mental 
processes, inducing prejudices that narrow down to small men- 
tal compass. The result is a "high-brow," or synthetic mind. 

Generally speaking, "high-brows" or persons who aspire 
to look at things "above the common henl." move under 
great tension. This strain must find relaxation in some form oi 
emotional outburst, which, for the want of better mean-, turns 
to entertaining their peers, or other social function-, or respond- 
ing to them; in either case the mental -train is the same. 



I06 GRAPHOLOGY 



The nature develops a materiality in which the affairs of life 
tend to the grosser, away from the spiritual; they become 
notional, indulgent, effusive, and talkative. The critical and 
emotional senses grow acute. Because of this inherent desire for 
show and exploitation of self, they are apt to express their 
feelings without reserve. 

This encompassment of surroundings renders these individ- 
uals narrow in their mental grasp of things, lacking concen- 
tration, or the power to see or feel beyond their own little 
world, and in consequence their thoughts, like their writing, are 
diffuse and fly readily from one subject to another. While 
morality and integrity are not necessarily less, they are 
certainly blunted; in most instances sensuality is an 
accompaniment. 

Plate A is an unusual specimen of abnormally large writing, 
and for this reason much interest attaches to it. The veriest 
novice in graphology can readily conclude that the writer has 
very little reserve force, because the energy expended in 
penning the letters must have been extravagantly spent. 
Correlative with this useless expenditure of energy the nature is 
to be extravagant in all ways, in the spending of money, in the 
expression of opinions, charities, vocabularies, and deportment. 
In the vernacular of the day, she is "up in the air." 

Plate B, also the writing of a woman, takes on nearly all the 
characteristics of the writer of specimen A, with the possible 
exception that she is less appreciative of her exalted position, 
although equally imbued with this sense of superiority. Her 
nature is one that is readily animated, excited, venturesome, 
vivacious, and spirited. She is talkative, has much to say about 
herself, her personal affairs, and experiences, and while an 
entertaining talker, her one thought is about herself and her 
petty recreations and social functions. Both specimens denote 
selfishness and thoughtlessness of an extreme depth. 

An analysis of either specimen will reveal many other inter- 
esting features, which are held in reserve for the student, and 
from which he will derive profitable experience. 



GRAPHOLOGY 



MISFITS AMONG BOOKKEEPERS 

There is only one job a man loves best and can do best and 
from which he will profit most; that is the job for which he is 
best fitted by nature. 

Mr. Frank A. Munsey, the eminent newspaper publisher, 
says: "You cannot get out of a man what God Almighty didn't 
put into him; you must suit the man to the job, not the job 
to the man." 

Among all clerical vocations, bookkeeping is probably the 
most deceptive, because it appears to be what it is not; it 
attracts young men away from other fields that arc more 
productive, more prospective, and remunerative. The hopes 
for an easy, dignified semi-professional job, is the magnet 
that attracts men whose natural aptitudes point to other 
directions. 

The business schools throughout the country are grinding out 
bookkeepers by the hundreds, the great majority of whom are 
temperamentally unfit for this class of work. The labor market 
is glutted with applicants seeking positions as "accountant-" 
when only about two per cent, are really competent. This has 
been tested by vocational counsellors and employment mana- 
gers who reluctantly admit it to be a fact. 

The author professionally examined two-hundred replies to 
one single advertisement from applicants for the position of 
bookkeeper, and was able to select only four out of the lot that 
showed any ability or natural aptitude for this work. 

As a matter of business advantage, it is desirable for even 
man to take up a course in bookkeeping, but not n ecessa r ily 
with the expectation of following this work as a vocation. Its 
adoption will prove a disappointment to ninety per cent, oi 
those who undertake it. The honorable profession of "keeping 
accounts" has greater responsibilities than the mere posting of 
items in a ledger. This is demonstrated by the introduction 
into business of the trained Certified Public Accountant, whose 
duties are to supervise the work done by bookkeepers. W^u\ 



[08 



GRAPHOLOGY 




MISFITS AMONG BOOKKEEPERS 



(. R A I' II OLOG \ 



the bookkeeper been inherently adapted to the work, the pro- 
fessional accountant may have been unnecessary. 

The specimens printed on the preceding page wen- indis- 
criminately selected from a batch of replies received from appli- 
cants through an advertisement for the position of bookkeeper. 
Eleven out of twelve applicants indicated would have succeeded 
better as farmers or carpenters than as bookkeepers. 

No. I writes a "pretty" hand; he is insistent and sometimes ob- 
stinate; there is a dash of ingenuity. He is conscientiously honest . 
refined, and cultured. He is too impatient to make a capable 
bookkeeper, for he is unable to concentrate on details and lacks 
close application. This man is naturally a composer of music, 
or should take up theology, both of which need an inspirational 
temperament. 

No. 2 is too wavering in mind and maybe unable to thwart tempta- 
tion; why not try outdoor employment, either in engineering or min in g? 

No. 3 is of the mental type, inert and probably indolent; lacks 
energy and ambition; would succeed better as a compositor, proof- 
reader, or checking clerk. 

No. 4 should have learned the trade of carpenter before he started 
his career as bookkeeper. He lacks mental capacity for it. 

No. 5 would have made a successful correspondent, or literary 
man had he trained for this line of work. He has full command of 
language and has an active mentality. 

No. 6 ought to be earning thirty dollars a day as an architect 
instead of seeking thirty dollars a week as a bookkeeper. This mar, 
has imagination and constructive ability. 

No. 7. This young man would make a competent shipping clerk, 
collector, or floor walker; he is of the motive type and is out of hifi 
element in any sedentary position. 

No. 8. This man is intellectually weak, lacks ambition, and 
the habit of "putting off," although traces of falsehood are Bhown, 
he does not intend to deceive, but lacks the moral courage to 
assume the responsibility for any indiscretion. He should try 
chemistry. 

No. 9 should seek some trade that requires limited muscular effort, 
for he is physically unable to do heavy work. He lacks the mental 
equipment for accounting. 



no 



(iRAPIIOLOG Y 












xsZ<Kjsi 



^O 



/^O 






vturiA yTTVJ~ 







£r7*Z^T 



&° 



® 






&. 



sti 



■ r *-({« rk^^>^~yy^& 



INSANITY AND ITS VARIATIONS 



G K A P BOLOGY in 



No. 10 will find his proper place in the ranks of mad salesmen, for 
he is alert, strong, and broad visioned. Publicity writers are devel- 
oped from material such as he. 

No. II. If this man were as persistent in seeking a job as drafts- 
man, engraver, or letterer, he would find his proper niche. A litho- 
graphic artist or photographer's retoucher would fit him. 

No. 12. Many years ago, Horace Greely attracted considerable 
attention of the young men of his day, by advising them "to gi i West" 
and grow up with the country. This young man has all the attrib- 
utes for making an intelligent, successful farmer, and he should lose 
no time in embracing the opportunity. Bookkeeping and he are 
incompatible. 

INSANITY AND ITS VARIATIONS 

Insanity is divided into two general classifications, the Acute 
and the Chronic; these forms may be subdivided, and the sub- 
divisions still divided, until the several varieties of insanity form 
a very intricate conjugation of mental disturbances. 

Graphology makes no claims to supply signs for determining 
the different phases of mental unbalance, which are distribute d 
over a wide range of afflictions, from the incipient, or aberrated 
form, to the virulent type, commonly known as crazy or mania- 
cal. The principal forms of insanity, in their order of develop- 
ment, are: emotional, delusional, dementia, mania, melancholia, 
and paranoia. 

In a collective sense writing that is exaggerated in any par- 
ticular, by unusual strokes and formations of the letters, or 
interference of the loops of one line with the line above or below, 
is characteristic of mental disturbance, the form of which may 
be reasonably determined by the direction of the sign that con- 
trols the trait of character affected in the patient. 

It is possible for insane people to write perfectly sane letl 
on subjects not associated with their delusions, so the subject 
matter may not always reveal signs of peculiarity in the patient 

No. i. The lady who wrote this specimen would never be sus- 
pected by her friends or acquaintances of having any mental distur- 



I 12 GRAPHOLOGY 



bance, unless her unreasonable criticisms, depressive and morbid 
nature, would supply any hint of the threatened indisposition. The 
downward cant of the writing and unsteady strokes supply the early 
indications. 

No. 2. This specimen was written by an estimable, refined, and 
educated lady, a spinster of thirty-five years, who at this period of 
her lift' showed signs of mental unsteadiness, with physical outbursts 
of temper, quite unlike her former quiet demeanor. Specimen No. 
5 in the same plate is her writing one year later, after she had been 
placed in an institution for the insane. Her malady was described 
as delusional insanity, in Which she entertained hallucinations of 
men who were enamored of her. The nervous, excitable pen 
scratches, uncertain formations, frequent erasures and unconven- 
tional final "d's" with inordinate drooping of the last words on the 
lines, are the markings that denote her disordered mental condition. 

No. 3. Is a specimen of writing of the insane, characterized as 
passionate, emotional excitement, with an erotic nature, and known 
as the form Mania. The diffused, yet cramped gathering of the 
letters, uncouth formations, and the intrusions of the loop letters on 
the lines above and below, the irregular base line and the divergent 
strokes, with a weak, characterless arrangement of the words, are the 
signs that describe this writer's mental twist. Notwithstanding 
these irresponsible pen marks, there are evidences of former refine- 
ment and culture, education and highly developed intellect, that 
seems to have tottered and fallen away. The inevitable course that 
follows uncontrollable sexual desire. This is thewriting of the young 
divinity student, Rev. Clarence V. B. Richeson, who murdered his 
fiancee, at Boston, Mass., and was executed. 

No. 4. This is a specimen of the writing of a Paranoiac. This pa- 
tient was confined in an institution, under legal restraint, after 
having been adjudged insane, following the shooting of a prominent 
man, whom he charged with violating his confidences with his wife. 
The writing of paranoiacs is easily distinguishable from the other 
forms of insanity, by examining the incoherency and confused ar- 
rangement of the words, the distorted phraseology and disordered 
lines and spacing; the irregular formations of the letters, the con- 
nections, omissions of words and letters, the particularization of 
events and things, jumbled together, showing the confused state of 
mind and erratic tendencies. 



(. R A I» II O L O G Y 



1 I 



No. 5. This specimen has been discussed in paragraph No 
No. 6. This specimen was taken from the writing of a habitual 
crook and thief, whose mental balance was affected. This man. 
while not sufficiently insane to be restrained, resorted to theft, 
because of an abnormal development of the bumps of covel 
ness and wilful disregard of the rights of others. His pen marks 
indicate one who may have had the benefits of education and refined 
surroundings, but his natural bent for bold, reckless and unreason- 
able avarice, displays an unbalanced mentality, which account- for 
his unstable conduct. This specimen was excluded from the plate 
devoted to criminals, because it partook more of the irresponsible 
feature in crime, than because of deliberate wrongdoing. 

No. 7. The writer of this specimen was not adjudged insane, but 
his unnatural propensities, nevertheless, put him in the class of those 
whose mentality has become warped and twisted. It is the all. 
handwriting of "Oliver Osborne" whose alleged escapades with a 
young woman were responsible for the notoriety given to a prominent 
lawyer, whose name was associated with the scandal. The script 
displays the mental perverseness of the libertine, one whose habits 
are cestrual, demeaning, and low down in the scale of human 
baseness. Evidently an attempt had been made to disguise the hand, 
but the tell-tale marks were unconsciously permitted to remain. 
denoting a keen intellect, with deductive reasoning powers, great 
energy and ambition to succeed, broad vision and trained faculties, 
with hasty, animated, impulsive, and erotic impulses. The natural 
hand (if this is a disguise), should have been less comprox d and 
rounded. The only excuse for placing this specimen in this plait- 
is to show to what moral depths even the intellectual may descend. 



CROOKS, THIEVES AND DEGENERATES 

The grapho-psychological survey and measuring of p 
values, morals, and actions, open the door to an acquaintance 
with many men and women who follow crime for a livelihood. 

No. 1. A specimen of the script of Henry Starr, the Western 
highwayman, written to his young son just before lie renewed hifl 
life as an outlaw. The wavy base, cramped letters, tied f, pointed 

tops, and variable size of the letters, reveal him a- a keen, bold, 



H4 



CRAPHOLOGY 




CROOKS, THIEVES AND DEGENERATES 



G R A FIIOLOC V 



US 



cunning type of man; the decreasing letters and undulating finale, 
mark him as the relentless criminal that he is. 

No. 2. The pen mark of a sentimental old reprobate-; his undoing 
was in confiding in his stenographer, who was unable to hold a 
secret. Despite the writer's caution in financial matters, thi- 
confidence was innocently betrayed, and ended in his apprehension 
and conviction for fraud. 

No. 3. The sluggish hand of a drug fiend, who, under its influence, 
was swayed to dishonest actions. His strong / crossing indicates 
that there remained in him a fragment of decency and honor, now 
lost in irresolution and fear, which grew into a fiercely vicioua Btate 
of mind, and brought him at last to live as a procurer, the vilest kind 
of thief. The tied s, the d final below the line, the wavy base, the 
excessive slant of the writing — all testify to his perfidy— a degen- 
erate in mind and body. 

No. 4. The muddy, vulgar scrawl in this specimen is the hand- 
writing of "Bluebeard," the monster who confesses to having put to 
death nine of his score of wives. He is J. P. Watson, now serving a 
life sentence at San Quentin prison, California. Note the undulating 
base, irregular letters, heavy and light uncertain strokes, crowded 
lines, and smeary, irresolute strokes, all characteristic of an unbal- 
anced, yet pervert mind. 

No. 5. Specimen from the handwriting of a public official, who 
was convicted of graft and misappropriation of funds. The bold 
heavy hand, decreasing size of letters, hooks on / bars and closed 
o's, stamp him as a crafty, tricky person, full of intrigue and cunning. 

No. 6. These peculiar and extraordinary scratches depict an 
unbalanced nature, ready to take any risk in dissipation. Every 
down stroke spells moral and physical cowardice. 

No. 7. This is a woman's script; she is by nature possessed <>t .111 
active, clear mind, and bright intellect, but with an undercurrent of 
odd perversity, which through strain on the nervous Bystem, devel- 
oped into kleptomania, with apparently no control over her actions. 
The variable and wavering lines, the irregular sloping of the letters, 
and their variable sizes and placing on paper are the tell-tale marks. 
Truly this is an illuminating specimen; it determines Borne mental 
disorder as the base of her peculiarities. 

No. 8. The heavy, vulgar shading, unkempt and coarse strokes, 
show dissipation and vicious living. Though intelligent, he 1- a 



1 1 6 GRAPHOLOC. V 



dangerous beast, bristling all over with selfishness, a detest able 
and moral coward, a veritable lounge lizard, a frequenter of the 
bawdyhouse. 

No. 9. This specimen is far above the average among criminals; 
it denotes culture and refinement gone wrong, rarely seen in men 
with brutal, fiendish instincts. This script is the boastful, pompous 
mark of the retroactive mind. It proclaims self-glorification. The 
writer of this specimen was a proud official, high in the councils of 
the New York Police Department. Intoxicated with powers be- 
stowed upon him, he instigated the murder of a noted gambler, was 
convicted of the crime, and executed. 

ILLITERATE HANDWRITING 
The specimen shown on the preceding page is a missive re- 
ceived by a patent medicine manufacturer, which for a while 
baffled the office force. The interesting feature about this 
letter is the tutored formation of many of the characters in the 
writing; this suggests that the letter may have been written by- 
some wag for the purpose of hoaxing the manufacturer. This 
inference might be feasible without careful examination of some 
of the minor parts of the strokings, which plainly reveal the 
untutored hand. The small letter r is consistently substituted 
by the capital letter, which is also seen in the letter b. Another 
tell-tale evidence of illiteracy is the crude manner of crossing 
the /, all of which lacks intelligence and force of mental training, 
indicating an ignorant person laboriously trying to write a 
letter. The following is a parenthetical "translation." 
Santelouis (Saint Louis) M o (Mo.) O c o t b e (October) 
J i R S te (First) M Riwon t et o (Mr. I want to) as k euy o u a 
Q u es t o n (ask you a question) aBoutemicas (about my 
case) ih a V e B w en (I have been) s t R i c t e D (stricken) 
J-(f) o 1 'uy e a Ran iante (for one year and ain't) w e 1 uy eat (well 
yet) iha V B wen D i 1 at (I have been die — dead-lot) Mo R thena 
D o z nti m es (more than a dozen times) ntwellyeat (not well 
yet) Paragraph: GaVe (give) maiDesme (medicine) ("for" 
omitted) i t i J (f) uy o u P 1 e a s e (it if you please) A N c e R S 
oanto Rhicks (Answer soon to R. Hicks) NoRthCoMP- 
to N 22 (North ComptonSt.) iwilPauyouwel (I will pay you well). 



<; i< a !• 11 (i i o (, \ 



o co yx jg. a^ ^^5 ^ 

-^Ctf<> &> JL $ «^ jlsk, 

OcJP 



u8 



GRAPHOLOGY 



HOW WRITING DEVELOPED FROM PICTURES 

Graphic information is so old that no one can date it with 
accuracy. If it is true, according to the revelations of geolo- 
gists, that man lived in the caves of Spain, France, and Ger- 
many more than two hundred thousand years ago, we shall 
have to go back that far for the beginning of writing, as it 
developed from pictures used at that time. 

The specimens shown here arc inscriptions taken from Per- 
sian pottery. Each line shows the gradual development of 
(indc letters from pictures originally used to represent ideas. 




The figures on the first line from left to right show a flying 
bird with its development into letters. The figures on the 
second line represent the head of an ox, with its development. 
The figures on the bottom line represent human beings, ter- 
minating into symbols used for letters. 

That the human mind progresses in this fashion is most 
clearly proved by the practices of savages and children, as well 
as of illiterate. All try to convey what is in their mind, either 
by picture writing or object-sending. 



GRAPHOl 0G1 



119 



CHINESE WRITING 5,000 YEARS AGO 






According to the highest authorities on Chirography, the 
Chinese were the first to systematize a set of characters for 

writing, developing an alphabet 
or set of symbols from the pic- 
tures that formerly served the 
purpose of transmitting thought. 
The specimen shown here de- 
picts this development in un- 
mistakable clearness. The right AA 3^T^^o€^c^ 
hand column are characters now 
used by the Chinese to express 
certain words in one of the 
Chinese dialects, while the left 
hand column shows the pic- 
tures they used before their 
alphabet was developed. The center column in script is the 
English translation for the Chinese words. 






i 




THE SIGNATURE OF "BLUEBEARD" 

The confusing mass of curves and strokes 
that form this unintelligible signature were 
penned by Count Giles de Laval, Lord of 
Retz, who was Marshal of Prance in [429. 
He was born in 1396, and after living a nefarious life, during 
which he practiced murder as a fine art, he was dubbed "Blue- 
beard." He was executed at the castle at Nantes, October 25, 
1440. 

THE SIGNATURES OF NAPOLEON 

All these signatures were made on occasions calling forth 
widely differing emotions, and they vary as greatly as did the 
emotions. No. 1 is Napoleon's signature written after being 
crowned Emperor in 1804. No. 2 was written in Napoleon's 
proclamation, after his victory at Austerlitz, 1 Vc. 2, 1 805. 



JO 



G R A V II O L o <; V 



3 is the emperor's signature penned after his entrance into Mos- 
cow, Sept. 21, 1812. No. 4 shows great depression after the 
retreat of his army from Russia, Oct., 1812. No. 5 is his 
signature to a document executed at Erfurt, after the defeat at 
Leipzig, Oct. 23, 1813, showing great agitation. No. 6 was 
written at St. Helena, showing exasperation and chagrin. No. 
7 is his signature penned at Fontainebleau prior to his abdica- 
tion on April 4, 18 14. The difference between the orderly 
signature written after the victory of Austerlitz and the blotted 
scrawl after the defeat of Leipzig is very striking. All of his 
signatures made at times of failure or depression have a down- 
ward slant, while that after the victory of Austerlitz slants 
upward. These specimens are authentic photographic repro- 
ductions, taken from documents signed by Napoleon at differ- 
ent periods of his sovereignty. 




GRAPHOLOG Y 



[21 



PICTURE WRITING UP TO DATE 

These illustrations furnish a curious phase of human intelli- 
gence, being a transcript from a memorandum book kept 1»> 
an illiterate woman living in 
one of the rural districts of 
Germany. Her business was 
to fulfill commissions in the 
nearby city for her country 
neighbors. Instead of writing 
her orders in the book, which 
she was unable to do, she drew 
pictures to represent the thing 
or things she was to purchase 
in the city. When she would 
buy rice she pictured a symbol ^a&^JL 



that meant rice to her ; when a 

customer wanted pears she ^==5^- "^ ^T~ "T? 




drew a picture of one. The 7 & 

same procedure was followed to indicate a sponge, slate, for a 

pot and cakes, or for wine and pork. 

This very crude way of keeping memoranda reminds us that 
through just such instances as this we gain an insight into the 
beginning of writing, which always started with pictures, and 
gradually attained to symbols which developed into systema- 
tized markings; these strokes and curves, in whatever language, 
are formed into words and sentences, which appeal to tin- 
civilized intelligence, and are communicable to others. 

The key to this picture writing is: No. I — means rice; No. 2 
— is a pear; No. 3 — is a sponge and slate; No. 4 is a pot; 
No. 5 — are the cakes she is to buy; No. 6 — is wine; No. 7— 
stands for pork (indicated by a pig) No. 8 — is the bladder 
she is to get when the pig is killed. The memorandum book 
from which these pictures were taken contained several Other 
entries similarly expressed. 



122 GRAPHOLOGY 



EARLY BABYLONIAN SCRIPT 
This is a specimen of Cuneiform writing, the first use of 
which dates back to a period so remote that it is idle to specu- 
late concerning it. These markings were taken from records on 
clay tablets on which the early Babylonian laws were inscribed , 

<T ffi Tf \ «TT 

The Cuneiform characters of writing were wedge-shaped and 
believed by students of ancient hieroglyphics to have been 
invented by the primitive Accadians of Mesopotamia about 
6,000 years ago. Some students, however, seem to doubt 
whether an Accadian civilization ever existed, but these sig- 
naries are believed to have been inscribed or impressed by the 
ancient Babylonians, Assyrians, etc., upon bronze, iron, clay, 
stone, and other materials. The most important of these hiero- 
glyphics and alphabets are believed to be the Accadian, which 
was the oldest, its characters being idiographic. The Assyro- 
Babylonian was the largest and most complicated, having about 
700 characters, partly alphabetic, partly syllabic, arid written 
from left to right. The old Persian had about 60 characters, 
and when deciphered by Grotefend in 1802 gave a clue to other 
cuneiform systems. 

RECORD OF AN ANALYSIS 

Note. The convenience of this blank will be appreciated by the student, 
who may wish to retain a record of the specimen analyzed. Begin by filling 
in all spaces, with the features found in a specimen. When all the data has 
been collected, proceed with its delineation, according to the rules, by com- 
bining the signs, making full and frank declarations for the traits that are 
habitually indicated, or modify those that appear to be occasional traits. 

RECORD OF AN ANALYSIS OF HANDWRITING 

Name of writer Date IQ . . . . 

Sex Age Nature of Specimen 

Remarks 



G R A P I I QLOG V 

GENERAL FEATURES 

Angular or round writing Backhand, vertical, or forward 

Small, large, or medium writing Heavy, fine, or -haded writing 

Conventional or inartistic writing Hasty, slow, or indistinct writin. 

Uniform or uneven writing Crowded or diffused writing 

Writing well-spaced, or not well-spaced Lines straight 

Lines properly or improperly spaced 

Margins at right — wide or close to edge 

Margins at left — wide or narrow at top 

Margins at left — even or uneven 

Margins — both right and left wide 

Terminals — do they end abruptly, outwardly, upward, downward, with or 

without hook 

Capitals — are they plain, large, ornate, high, incurved, disproportion* 

inharmonious with body of text ? 

Punctuation (see description) 

Capital .1/or N — first, second, or third strokes highest 

Capital -if or A* — looped or unlooped? Ornamented or plain 

Capital M or N — incurved or begin with scroll 

Capital Mor N — made with two or three vertical strokes 

Signature (see description of signs) 

Signature — is it confirmatory with body of text 

Base line of writing— undulating, wavy, straight, or irregular 

Writing coarse, dirty and muddy, thick down strokes 



SPECIAL FEATURES 



Abducent or adducent writing 

Letters connected or disconnected 

Lower loop letters— long, short, wide. I 



124 G R A l'HOLOC Y 

Letters in words — do they increase, decrease; variable or uniform 

Letters — pointed or rounded at top 

Initial strokes (see signs) 

Small letters .1, 0, D, G — are they open, closed, or looped 

Small letter B — made incurve, stroke with loop, or begin with hook 

Small letter D y high or short stem looped or stroke 

Small Utter U — final curved up, back, to right, below line; looped or stroke. . 

Small letter E plain OT ( -reek form 

Small letter /•' return stroke to right or left 

Small letter F made with long loops or with stroke 

Small letter G -made like figure <V, or long loop or stroke 

Small letter G- ending in triangle or return to right 

Small letter / — dotted to right or left high, over, or close to letter 

Small letter J dots or dashes used lightly or firmly made 

Small letter / dot large and heavy, or Circle for dot 

Small letter / — dot omitted or occasionally used 

Small letter M and .V, made like \Y and V 

Small letter P lower loop long or short or stroke 

Small letter P — lower loop return on right or left of letter 

Small letter P — lower point sharp and upstroke on right of stem 

Small letter T — carefully, heavily, or weakly crossed 

Small letter T — bar point upward or downward 

Small letter T — bar on right or left of stem 

Small letter T — bar above or down low on stem 

Small letter T — Stem begin with stroke, tiny hook, or is it looped 

Small letter T — final down stroke below line or turned upward 

Small letter T — see list of signs for other features found in the script and note 
them here 



GRAPHOLOGY [2< 



PART TWO 
THE APPENDIX 

FOREWORD 

It is surprising how few persons can define a word correctly, 
off hand, without consulting a dictionary. 

This appendix supplies the dual purpose of a dictionary of 
common phrases, terms, and words, used to denote the traits; 
habits, qualifications, and propensities of individuals, together 
with the corresponding graphological interpretations, arranged 
in parallel columns. 

The student, in submitting his delineations of character, will 
frequently meet conditions where his client may want to 
discredit the correctness of his deductions, basing his conten- 
tion on what will subsequently prove to be an incorrect 
knowledge of definitions, or a wrong interpretation of some \\< >r< 1 
or phrase used by the student which the client may honestly 
believe to be adverse to what is really true. 

Graphologists, and especially unprofessional students of 
graphology, are only human with as much knowledge of de- 
finitions as have been acquired by study and a retentive 
memory. The purpose of this work is to minimize errors and 
make the path of the graphologist as smooth as the nature 
of the work will permit. The principal aims sought are to 
avoid error and to inspire confidence in those whose in- 
credulity must be overcome. 

In writing a delineation of character the use of Bpedfic terms 
to give certain shades of meaning is necessary for a clear under- 
standing of what the author intends to convey. If the inter- 
pretation is expected to carry conviction, it must be couched 
in simple expressive English so that the reader, the recipient, 
may not ascribe a totally different definition than was intended. 

Any hasty, erroneous conclusion tends to discredit tlie work 
of the graphologist, although the only Bins committed by the 



126 GRAPHOLOGY 



student may have been to make use of terms to express the 
definitions which were not properly understood by the client, 
and to express opinions based on belief, remote from the true 
definition. This temporarily causes embarrassment both to the 
student and the client, and may be irreparable, unless the op- 
portunity arises for correcting the misconception of beliefs. 

Most persons are apt to jump at conclusions with no regard 
for the standards by which proper conclusions are judged. This 
unfortunate trait is possessed by otherwise well-intentioned 
persons, but it plays havoc with results, nevertheless. 

Each word selected in the appendix is carefully defined, and 
expressed in several shades of meaning, to conform with the 
part of speech in which the word is to be applied. In a parallel 
column is given the graphological interpretation for the trait 
or habit, to correspond with the analagous phrase. The 
significations may be verified by checking them up with the 
indications given in the classifications under their respective 
headings in either the General or Special Features of hand- 
writing printed in the forepart of this book. 

QUALIFICATIONS, TRAITS, AND HABITS 

Term and Definition Interpretation 

Absentmindedm ss 

Lacking in attention; mind occu- Letters omitted in words; /-bars 

pied with something else; habitu- above stem; i undotted; / not 

ally or frequently abstracted. crossed; punctuation carelessly done. 

Absence of Sensuousness 

Free from sensuousness; without All cross strokes light, 
this physical influence. 

Abstraction 

A conception existing only in the Letters omitted in words; /-bars 

mind and answering to no reality; above stem. 

something visionary; condition of 

mind which results in its being 

withdrawn from certain objects. 

Same as Absentmindedncss. 



(i RAPHOLOG V 



-7 



Accuracy (See Precision) 

Exactness; correctness; conform- 
ing exactly to truth or to a stand 
ard. 

Acquiescence 

Quiet submission ; passive consent ; 
compliance; disposed to yield or 
assent; inclined to submit. 

Acquisitiveness 

Inclination or power to acquire; 
the faculty of acquiring or making 
one's own, by labor or effort; de- 
sire for gain. 

Acuteness 

Having a fine and penetrating dis- 
cernment; keen senses; ability to 
make fine distinctions. 

Activity of Mind (See Animation) 
Brisk or vigorous mind. 



Adaptability 

Capable of adjusting one's self to 
situations, environments, or to 
changed conditions. 

Aesthetic 

Pertaining to beauty, taste or the 
fine arts; artistic. A person of 
fine taste or artistic culture. Ap- 
preciating or loving the beau- 
tiful. 



Punctuation carefully placed; 

letter carefully made; /-bur neither 
at right nor left of stem; Words fre- 
quently underscored. 

Cross strokes absent 



Letters close together; h(x>^ at end 
of strokes; punctuation never care- 
lessly done; finals never long, unho- 
used to fill blank space-. 



Small letters pointed at top. 
11 like w and u . 



m and 



Letters hurriedly written, some onl\ 
half formed; angular hand; ten 
danoy to small hand; well-formed 
letters; down strokes shaded; . 
ally forward slope; diffused writing; 
well-spaced writing. 

Uneven base line; uneven writ inc. 
not wavy base line; m and ;/ like 
w and //. 



Usually in the vertical, round hand; 
conscious writing with original for 

mations of letters and connections; 

print like capitals; wide margins; 
wide Bpacing between lines; discon- 
nected letters; capital M made with 
three perpendicular, and one hori- 
zontal, strokes. 



128 



(i K A P II () L O G V 



Affection 

Desire; emotion; feeling, the giving 
out of the mind toward an object. 



Forward slope; the more slope the 
more affection. 



Affectation 
A studied or ostentatious pretense 
or attempt to display, to show off. 



nourishes; capitals too high. 



Agility 

The quality of being agile; quick- 
ness and readiness in movement ; 
nimbleness; activity of body or 
mind. 



AGGRESSIVENESS 

Disposed to encroach on another's 
rights; to commit aggressions; to 

work in behalf of one's interests; to 

work actively; to take the initia- 
tive in an attack; to intrude. 



Angular hand; tendency to large 
writing; hurriedly written; not well- 
formed letters; writing never com- 
pressed; p made with lower point 
sharp and upstroke on right of stem; 
/-liar on right of stem or high above 
.stem, flying off to right. 



Angular hand; heavy writing; p 
made with lower point sharp and up- 
stroke on right of stem, /-bar either 
heavy, to right of stem, or downward. 



Agreeableness {A Pliability) 

The desire to please; suavity: 
bland ness. 



Aliment iveness 

Desire for eating and drinking 
the propensity for drinking. 



Letters extended; capitals not high; 
style not eccentric; down stroke of p 
rounding up to left, instead of pointed 
and to right; m and n like w and u. 



All down strokes shaded; style 
coarse; unrefined appearance of the 
writing; some strokes uncertainly 
made. 



AMATWENESS 

The propensity to love, or for 
sexual passion; faculty of love for 
the opposite sex; sexuality. , 



Right slope writing; the more slope 
the more passion ; all down strokes 
shaded; muddy or unclean appear- 
ance of writing. 



G R \ P II o i. G Y 






Ambition 

To desire and seek eagerly; an 
eager desire and steadfast purpose 
to achieve something commend- 
able; an object of ambitious effort 
or purpose. 



Cross strokes ascending; M . 
cending; lines Blanting upward, 
Hasty, distinct writing. 



Amiability (Agreeablencss) 

Kindness or sweetness of disposi 
tion; lovable. 



Letters extended; m and n lib 
u\ capitals not too high; style not 
eccentric; down strokes of /> round- 
ing upward to left, instead of p 

and upward to the right. 



Amorousness 

The quality of being amorous. 
Having a proi>ensity for falling in 
love; influenced by sexual affec- 
tion or appetite; loving; ardent in 
affection. 



Tending to flourishes in writing; 
fancy writing; long loops in lower 

loop letters; forward slope. 



Amusement (Craving for) 

A natural inherent yearning or 
longing for amusement. 



Lines more ascending than won!-. 



Anger {Quarrelsomeness, Temper) 
Animosity; exasperation; fury; 
impatience; indignation; passion, 
rage; resentment; wrath; anger 
is sharp, sudden, and brief. 



Initial stroke- absent; dashes For i 
dots; capitals never Ion : letters 
never compr es s e d; I bar higher than 

top of stem and at the right \ 
with lower point -harp on Upstroke 
at right ; more likely in angular hand. 
tendency to vertical hand. 



Animalism (Sensuality) 

Actuated by sensual instincts and 
appetites only; without intellec- 
tual or moral qualities; animalis- 
tic; the state or nature of an 
animal as opposed to higher or 
spiritual nature. 



Down stmkcs iiiuddx : writing 

coarse; wavy base; generally slop- 
ing hand; CTO88 Btrokes he.i\ \ and 
dragging from one letter to another; 

fullness of the letter-, bloated like. 



130 



GRAPHOLOGY 



Animation (Vivacity) 
Animated; lively; quick; activ- 
ity, alertness, briskness, buoyancy, 
cheerfulness, exhilaration, gaiety, 
sprightliness, vivacity. 



Letters hurriedly written, some only 
half formed; / and d looped; letters 
extended; lines ascending; /-bar some- 
times upward ; either slope. 



Approachablenkss ( Friendliness) 
Easy of access; that can be ap- 
proached. 



Letters extended, 
and u. 



m and n like w 



Architectural Taste 
Constructive; adaptation to ar- 
chitectural purposes; a liking for 
Btyk or design <»f a building, a 
Bense for building and construc- 
tion. 



Simple, graceful and print-like capi- 
tals; neat margins; original style of 
letters and joining. 



Ardor 

Warmth of intensity of passion or 

affection, or of devotion to any 
purpose; vehemence; seal; en- 
thusiasm. 



Down strokes shaded; writing has 
upward tendency; /-crossings up- 
ward; well-spaced writing; gener- 
ally diffused. 



Argumbntattve 

Controversial; given to arguing; 
disputatious; an argumentative 
j>crson. 



Connected letters; words occasion- 
ally connected, /-stem looped; /-bar 
ascending ; a and o closed ; tendency 
to heavy hand. 



Arrogance 

Unreasonable or excessive assump- 
tion or assertion; overbearing 
pride; insolence, presumption, 
pride, vanity, haughtiness. 



Vertical writing — never sloping; capi- 
tals too high; strokes firm; intense 
shading — naturally done. 



Artful 

Characterized by craft or cunning; 
adroit; deceitful; designing; 
knowing; sharp; shrewd; tricky; 
wily. 



Backhand writing; angularity of 
strokes; tendency to small hand; 
words close together; letters hur- 
riedly written. 



G R A 1' II LOG Y 



Artistic Taste 

Appealing to the aesthetic nature. 



131 



Aspiration 

Earnest longing or earnest wish for 
that which is above one's present 
reach or attainment, especially for 
what is noble, pure, and spiritual ; 
aim; ambition. 

Assertive 

Declarative; confident in state- 
ment; dogmatic; positive; to af- 
firm the reality of a thing as a 
fact, advanced without accom- 
panying proof. 

Athletics 

Physical exercises. 



Austerity (Sternness) 

Gravity or vigor in conduct or 
attitude towards others; failure to 
show leniency; habitual, severe 
self-restraint or discipline; stern- 
ness. 

Autocracy (Despotism) 

The rule or authority of an auto- 
crat; the autocracy of will among 
the faculties. 



Avarice 
Passion 
riches; 
ness. 



for getting and keeping 
covetousness; miserli- 



Simple and graceful capitals; wide 
margins—right and left; wide 
between words; neat writing, 

coar-e. 

Down strokes light; n 
ascending; /-crossings upward; eith- 
er slope. 



Angularity of writing, or tope of 
small letters pointed; usually in 

large hand, or larger than medium. 



Lower loop letters long; p-stem 
short above — long below; down 
stroke firm and shaded; normal. 
steady hand. 

Strokes firm, style fixed; not sloping 
hand; m and n unlike 10 and u ; let- 
ters not extended; punctuation 

carefully done. 



Cross strokes ascending; capitals too 
high; Btrokes growing heavi 

wards end; hook- .it 1 -ml of strokes. 



Vertical or backhand writing, rarely 

forward slope; letter- CTOwd 

gether; final letters hardly finished; 

hooks at end of Btrokl \\ 1 urn t uat ion 

carefully done. 



32 



(i R A P H O L O G V 



Basrtuln I 

State or quality of being bashful; 
shrinking modesty; coyness; dif- 
fidence; modesty; reserve; shy- 
ness; timidity. 



Letters compressed; no flourishes; 
capitals low; cross strokes straight. 



Benevoli:\ 
Disposition to seek the well-being 
or comfort of other--, desire t<> 
alleviate suffering or promote hap- 
piness; love of mankind; kindli- 
ness of heart ; eharitableiK 



Letters extended; upstroke of lower 

loop letters turns up to right in- 
stead of left ; forward slope. 



Blues 

Low spirits. 



Last word of line descending or 
drooping. 



BOASTFULNBSS 

To speak ostentatiously; to bra;;; 

Bel forth with pride or vain glory. 
To possess with great satisfaction. 



Letters extended; 
capitals too high; 



/ and d looped; 

large capital /. 



Boldness 

To possess audacity or fearlessness 
— physical or moral; daring, cour- 
ageous, brave; lack of proper 
modesty or moderation; forward, 
brazen ; regardless of limitations or 
restrictions; audacious, striking, 
vigorous. 



Letters never compressed; finals 
ascending to right; p made with 
lower point sharp and upstroke on 
right of stem; lines straight; capi- 
tals never low; stroke firm; style 
fixed. 



Bravery 

State of being brave; valor, gal- 
lantry; heroism; having or showing 
courage or daring under trial; in- 
trepid; courageous; stout-hearted. 



Final and cross strokes ascending to 
right; strokes becoming heavier to- 
ward end; capitals too high; hooks 
at end of strokes. 



Broadminded 
Liberality of belief, opinions, and 
toleration. 



Words well spaced on lines. 



GRAPHOLOGY 






Brusqueness 

Rough or rude in manner 
speech; blunt; off-hand. 



Small letters not smaller at end than 
at beginning of word; small letters a 
and o open; lines Btraighl ; m and ;; 

unlike 10 and it. 



Brutality 
State or quality of being brutal; 
coarseness, cruelty; savageness; 
a brutal or inhuman action. 



Small letters constantly varying in 
size; down strokes muddy; bach 
hand or vertical dopes; no incurve; 

letters never extended; capitals un- 
graceful; fff and n unlike w and u : 
coarse, ungraceful style. 



Buoyancy 

Power of resisting or recovering 
from depression, discouragement, 
self-depreciation, or the like; 
elasticity of spirits. 



Lines prominently ascending. 



Buoyancy Restrained 
To keep the spirits in subjection. Words more ascending than lines. 



Business Ability 

The state or quality or training 
that enables one to conduct an en- 
terprise with good judgment, 
thought, energy, skill, and keen 
foresight. 

Note. For Literary, Musical and 
Artistic Abilities refer to headings 
under these titles. 



Small letters neit her very 1< >\v n< »r very 
high; Strokes and loops of one line 
clearly separated from lines 
and below; small letters poinl 

top; punctuation carefully placed; 
margins never wide; / carefully 
crossed; letters not widely Bpaced; 
small tetters decreasing in use; 
ture strong and fluently written. 



Candor (Frankness) 

Freedom from mental reservation ; 
openness; the quality of frankness 
or outspokenness; freedom from 
prejudice or mental bias; impar- 
tiality; fairness. 



Small letters a and open at top; 

lines straight; capital D open al top. 

lather bIodC — backhand excepted. 



134 



GRAPHOLOGY 



Capability 

One possessing power or capacity 
to do; having adequate ability; 
efficient; able; qualified. 

Caprice (Capricious) 

A sudden change of mood, opinion, 
purpose, method, without ade- 
quate motive; a whim; freak; 
capriciousness. 



Well-spaced, uniform writing. 



Style constantly changing. 



Causticity (Sarcasm) 
The quality <>r Mate <>f being caus- 
tic; figuratively, biting satire or 
sarcasm; satirical. 



Small letters d and / sharply written 
with pointed stems. 



Calmness 
Composure; quietness; quietude; 
serenity; steadiness; stillness; 
tranquillity; feeling without agita- 
tion; the result of strength, cour- 
age, and trust. 



Round dots for periods; round hand; 
fine writing; even and generally well 
spaced writing; /-bars low down on 
stem. 



Carefulness 

Exercising care; giving close or 
watchful attention; attentive and 
prudent in home, business, or 
duties. 



Punctuation carefully placed; /is 
crossed and i dotted: /-bar never 
flying off to right of stem; left 
margins even; normal steadiness oi 
hand. 



Carelessness 

Without proper care; neglectful 
of danger, interest, responsibility, 
or duty; unconcerned; not atten- 
tive; want of care. 



Punctuation carelessly done; omis- 
sion of /-bars and i dots occasionally 
or carelessly placed. 



Caution 

Considering the consequences be- 
fore acting; wary; prudent; 
watchful; reluctant to incur dan- 
ger. 



Dashes used in place of, or additional 
to, periods; period after signature; 
capital D closed and looped at top. 



GRAPHOLOGY 






Ceremoniousness 

Observant of ceremony; adherence Beginning stroke with flouri 

to forms; etiquette; studiously 

polite; formal; having a formal 

character; characterized by eere- 

monv. 



Charity (Charitable) 
The spirit of charitable giving; 
benevolence; love and good will; 
kindly lenient; inclined to look on 
the best side. 



Forward slope; the incur 
long and extending out* 



Changeableness 

Changeful; inconstant 
change or vary. 



likely to Style of writing constantly changinj 



Cheerfulness 
A state of moderate joy or gaiety; 
good spirits; alacrity; buoyancy; 
animated by agreeable feelings; 
joyous; lively; cheery. 

Clearness of Ideas 
Quick perception of mind. 



Clannishness 

Having a strong feeling of frater- 
nity; clinging or disposed to cling 
together. Influence by class preju- 
dices; narrow in sympathy. 



Lines ascending. 



Strokes and loops of one line clearly 
separated from lines above and be- 
low; small letters pointed at top. 

Upstrokes of lower loop letters curv- 
ing well to the right 



Coarseness 

Showing lack of refinement or 
modesty; low; vulgar; indecent; 
brutish, common, ill-bred. 



Style of writing i- tld un- 

graceful; cross -tic 
left margin uneven. 



COLDHEARTEDNESS 

Lacking in sensibility or emotion; 
unsympathetic; unfeeling; indif- 
ferent. 



Backhand writing. 



136 



GRAPHOLOGY 



COMBATIVENESS 

The fighting or contending quality ; 
quickness to engage in conflict or 
dispute; faculty of courage; the 
tendency to assail ; defend ; contra- 
dict and take the opposite side. 



Either slope; letters never com- 
pressed; p made with lower point 
sharp and upstroke on right of stem; 
strokes firm; capitals never low; 
finals never ascending to the right. 



Command of LANGUAGE 

Power to obtain, use, dispi.se of or 
control language; a mastery. 

Communicativeness 
Ready or inclined to communicate; 

read\' to impart knowledge or in- 
formation; frank; talkative; ready 
to give, impart, or share; liberal. 



Style is easy, running hand 
d looped; either slope. 



/ and 



Small letters d and / looped, a and o 
open at top. 



COMPANION ABLENESS 

The quality or state of being com- 
panionable; capable of being, and 
inclined to be a pleasing compan- 
ion; sociable, agreeable, friendly, 
amiable. 



Small letters m and n like w and u\ 
letters extended; capitals not too 
high; down strokes of p rounding to 
the left rather than pointed to the 
right. / bar low down on stem. 



Composure 

Tranquillity of feelings, thought, 
manner of appearance; calmness, 
serenity, repose; self-control, for- 
titude, courtliness. 



Conceit 

Vain conception of one's own per- 
son or accomplishments. 

Concentration 

The faculty of fixing one's atten- 
tion upon a single object. 



Punctuation dots round; strokes 
firm; /-bar not at right of stem; fi- 
nals descending to right; down 
strokes concave; capitals not low 
and never complicated; style grace- 
ful and cultivated; m and n like 
w and u. 



Words close together; capitals too 
high; first stroke of capital E in- 
flated; flourishes in writing. 

Small letters very low; small writing 
rather than large script; capitals 
and small letters plain without flour- 
ishes or ornamentation. 



GRAPHOLOGY 






Conciliation 

Overcoming enmity or hostility 
act of obtaining friendship. 



Strokes becoming heavier towards 
end with little tails added. 



Confidence 

The state or feeling of trust; feel- 
ing of security; self-reliance, bold- 
ness or courage in consequence 
thereof; assurance carried to the 
extreme. 



Finals or dashes HOi used to fill out 

otherwise blank spa 



Confusion of Ideas 

(Not meaning insanity or demen- 
tia.) 



Strokes and loops of one line entail' 
gled and running into the lines above 
and below; not well spaced writing; 
letters / and i frequently uncrossed 
or undotted; final letter to words 
sometimes left off. 



Conjugality 

The faculty that gives desire for 
matrimony. 



Right slope; down strokes shaded; 
only one form used for each letter. 



Conscientiousness 

Obedient to the dictates of con- 
science; loyal to conscience or 
duty; governed by conscience. 



Small letters equal size, tendi 

increase at end of word; mon 
crally in large hand. 



CONSERVATIVENESS 

Adherence to existing order of 
things; disinclined to novelty or 
alteration as of institution or 
methods; opposed to change; of- 
ten opposed to progress; a con- 
servative thinker; the faculty of 
conservation. 



General style of writing fixed; onlj 

one form used for each letter; no 

original st>le of letters or writing; 
adhering to old-fashioned style ol 

capitalization and forms. 



138 



(. k A P H O L O (i V 



Consistency 

A state of compatibility and har- All down strokes at same angle, 
mony of statements. 



Constancy 

Steadiness or firmness in purpose 
of action; calm endurance and 
determination; faithfulness In ser- 
vice and affection; certainty; 
veracity; assiduity; fidelity; per- 
severence. 



Style shows only one form used for 
each letter; all down strokes at 
same angle. 



Constraint 

The operation of power, physical 
or moral, compelling or preventing 
action. Unnaturalnesa in manner 
resulting from distrust, diffidence, 

or from an attempt to repress om's 

feelings. Syn. — Reserve. 



Letters compressed; a and o closed. 



CONSTRUCTTVKNESS 

Productive ingenuity; mechanical 
ability; constructive faculty; con- 
structive reasoning. 



Original method of making connec- 
tions in words; odd, unusual style 
of writing; capitals plain and like 
print. 



Conventionality 

State of being formal rather than 
natural; artificial character or 
characteristics. 



Copybook style of writing; no origi- 
nal style of letters; style fixed; only 
one form used for each letter; more 
appearance given to penmanship 
than to composition. 



Coquetry 
Trifling in love ; love, gratification 
of vanity. 



Up stroke of small letter d ending 
with graceful curve to the right. 



G K A P II () I. () G V 






Courage 

That quality of mind which meets 
danger with intrepidity, calmness, 
or firmness; mettle, bravery; mor- 
al courage to dare to pursue a 
course deemed right, which may 
incur contempt, disapproval, or 
opprobrium; physical courage de- 
pends on bodily strength or in- 
trepidity. 



Finals ascend to right; stroke firm, 
becoming heavier toward end ; 
tals too low; hook at end ot stroke 



Courtliness 

Courteous; elegant in manners; 
marked by dignified politeness. 



Down strokes concave; capitals not 
low; never complicated or un. 
ful; i dots round; style graceful and 
cultivated; m and n like W and u. 



Cowardice 

Giving way to fear; the state or 
condition of being a coward. 



Strokes weak ; 
right; writing 
"snappy." 



finals descend to 

IS "-crawly, " not 



Craftiness 

Skilled in deceiving others; art- 
ful; cunning. 



Words running into undulating 
strokes; last few letters in words un- 
decipherable; a and closed. 



Creative Power 

Having the power to create; pro- 
ductive; constructive. 



Upper loop letters long; letters dis- 
connected; original style of 
in writing. 



Credulity 

Being credulous; readiness to be- 
lieve without sufficient evidence; 
proneness to accept the marvel- 
ous; easily deceived. 



Capitals wide a1 base; finals soar high 
above word; a and • open. 



140 



GRAPHOLOGY 



Criticism 

The act or art of criticizing; judg- 
ing by some standard; formulated 
opinion; harsh or unfavorable 
opinion or judgment; censure. 



Small letters very low; j>ointed at 
top; letters connected; strokes firm; 
style fixed; strokes and loops of one 
line clearly separated from lines 
above and below ; capital E angular 
at base. 



Cruelty 

I )i>i>osition to inflict injury and 
pain; indifferent to suffering of 
others; inhuman. 



Vertical or backhand; never the 
right slope, unless in the illiterate 
hand; p made with the lower point 
sharp and upstroke on right of stem; 
letters never extended; m and n 
\w\ er like *i' and u ; no incurve. 



Culture 

Refinement of mind, morals, or 
tastes; enlightenment or civiliz- 
ation; judgment. 



General Btyle graceful and cultured; 
capitals not low and never compli- 
cated ; strokes and loops of one line 
dearly separated from lines above 
and below. The Greek c and d. 



Cunning 

Crafty; shrewd; artful; tricky. 



Small letters constantly varying in 
size; a and o closed tight; lines 
irregular; small letters pointed at 
top; finals never ascending to right; 
words running into undulating 
strokes; last few letters in words al- 
most undecipherable. 



Curiosity 

Eager concern to get knowledge of 
or a wish to engage the mind with 
anything novel, odd, strange, or 
mysterious; often in a bad sense — 
a prying disposition; the quality 
of being curious; delicateness; 
nicety. 



Small letters pointed at base. Finals , 
soar upward above word. 



G R A P II O L O G Y 



M 



Daring 

Possessing or exhibiting resolute 
courage; bold; brave; adventur- 
ous; reckless intrepidity. 



Lines ascending to ri^ht ; tendency to 

heavy writing. 



Deceitfulness 

Deception; fraud; falsity; tacki- 
ness ; to attempt or beguile ; inclina- 
tion or tendency to deceive. 



Small letters constant ly varying in 
size; lines irregular; a and o dosed; 
/-stem open at base. 



Decision 
The act or product of determining 
whether mentally or in fact; being 
positive and firm in one's practical 
judgments or actions; disposition 
is to prompt and steadfast action; 
quickness and vigor of resolution. 



Down strokes firm: 
left of stem. 



/-bar never .it 



Deduction 
The power, act, or process of de- 
ducing or inferring; that form of 
reasoning by which a fact, truth, 
or statement is inferred from a 
general fact, law, or principle, 
given as a starting point; syllogis- 
tic reasoning. 



Letters in words connected; a and 
o tightly closed; more likely in small, 
vertical, or backhand writing. 



Defensiveness 
An attitude or condition of defense; 
ready for defense; to act or stand 
on the defensive; means of de- 
fense; safeguard. 



Finals curl under to left. 



Defiance 
The act of defying; to meet in 
combat or contest; to demand of a 
person proof of an assertion or 
accusation; contemptuous opposi- 
tion or disregard openly expressed 
in words or action ; combativeness. 



Hither slope; letters never com- 
pressed; p made with lower point 
sharp and upstroke on right of stem; 
strokes firm; capitals never low; fi- 
nals never ascending to right 



142 



GRAPHOLOGY 



Deficient Musical Taste 

Not having an adequate liking or 
sense for music, lacking natural 
musical harmony; no ear for 
music. 

Deliberation 

The act i >l w eighing in the mind the 
reasons for and againsl a proposed 
measure or course of action; slow- 
ness and care in decision or action. 



Small letters angular at bottom of 
their last down strokes. 



Every letter carefully made; down 
strokes firm; /-bar at left of stem or 
carefully crossing stem ; a and o 
closed. 



Delicacy 
The quality of being delicate; 
fineness; daintiness; thai which 
pleases a fine taste: fineness and 
sensitiveness in perception, ex- 
pression, and action; a refined 
appreciation of propriety. 

I )i;mon.strativeness 
Able to prove beyond doubt; per- 
fectly convincing; conclusive; in- 
clined to strong expression of 

feelings or thoughts; power of 
clear, correct, and forcible expres- 
sion. 



Style graceful and cultivated; all 
attempts at flourishing rigidly ex- 
cluded. 



Upper strokes long; a and o open; / 
and d with wide loops; letters never 
compressed; letters hurrjedly writ- 
ten; some only half formed. 



Depression 
The state of being depressed; a 
falling of the spirits; low spirits, 
dejection; lowering of vital powers; 
melancholy. 



Descending lines; the more the lines 
descend, the greater is the sign ac- 
centuated. 



Designing 
Taste for; sense of form. 



Capitals made simple, graceful, and 
print-like. 



Desire for Approbation 
Desire for praise. 



Signature flourished and underscored 
by some form of complicated flourish. 



GRAPHOLOGY 



143 



Desire for Improvement 

Care; a feeling of wanting to make 
right; desire for perfection. 



Letters touched up or mended. 



Desire for Pleasure 



Lines more ascending than words. 



Despondency 
The loss of hope and courage ac- 
companied by mental depression; 
dejection of spirits, caused by ill- 
health, misfortune, or disappoint- 
ment. 



Lines ver\ descending; the m< 
lines descend, the greater the 



Despotism 
Absolute power; authority unlim- 
ited; control over others. 



Cross strokes ascending; capitals 
too high; strokes growing heavier 
toward end; hooks at end of Strokes. 



Destructiveness 
The faculty that gives the tendency 
to destroy; figuratively, disregard 
of, or assault upon, established 
opinions, beliefs, institutions; icon- 
oclasm. 



Capitals too high; backhand slope; 
down strokes firm, tending to be 
muddy; in the illiterate hand, ver- 
tical or forward slopes. 



Detail 
The faculty that enables one to go 
into a subject minutely and with 
particularization. 



Small writing; small letters low 
dots and /-bars carefully placed. 



Determination 
A firm resolve; the quality of br- 
ing earnest and decided; resolute- 
ness; firmness; the formation of a 
fixed purpose. 



Strokes becoming heavier I 

vm\: /-bar- long and heavy lower 

loop letters ending in strokes il 

of loops. 



Deviousness 

Out of the path of rectitude; stray- Irregular lines; (7 and n closed, 
ing from the way of duty. 



144 CRAP H O LOG V 



Devotion 

Zealous application to any pursuit Writing very sloping; disconnected 



or practice; strong attachment letters, 
expressing itself in earnest service; 
ardor; zeal. 



Diffidence 

Want of confidence in one's self; Letters compressed; no flourishes; 
lack of trust in one's own wisdom, capitals low, cross strokes straight. 
judgment or ability; timidity; self- 
distrust; shyness; modesty; dis- 
trust of others; lack of confidence. 



Dignity 

Grave or noble bearing; impres- Down strokes concave; small letter 
siveness of character or manner: d with high stem, 
repose and serenity of demeanor. 

Dignity (Want of) 

Lack of repose and serenity of Down strokes convex; small letter 
manner. d with low stem. 



Diplomacy 

Shrewdness or skill in conducting First letter of word larger than the 
any kind of negotiations or social rest; letters in words decreasing in 
matters; finesse; tact. size; small writing; a and o closed; 

plain capitals. 

Directness 
The quality of being direct, and Straight base lines, 
straightforward; direct and open 
conduct. 



Discouragement 
The state of being discouraged; Descending lines, 
lack of spirit; loss of confidence. 



GRAPHOLOGY 



1 45 



Discretion 
Ability and tendency to act with 
prudence; instinctive perception 
of what is wise and proper, united 
with caution; the habit of wise 
judgment; sagacity. 



First letter of words larger than 
the rest : a and o dosed. 



Dishonesty 
Faithlessness; a disposition to be 
false, unjust, untruthful in one's 
character or actions; any devia- 
tion from probity or integrity. 



Irregular lines; small letter- 
stantly varying in axe; a and 

tightly closed; base of letters a, 0, 
d, g, open; wavy base line. 



Disorder 

Lack of arrangement or system; 
without method; disregard or 
neglect of orderliness, rule, or 
conventionality in general. 



Many letters illegible; left margim 
uneven. 



Display (Love of) 
Ostentatiousness. 



Flourishes in writing. 



Dissimulation 
The act or practice of feigning; 
false show or pretense; deceit. 



Distrust 

Disposition to withhold confidence, 
reliance, or faith; lack of confidence 
in the power, wisdom, or good 
intent of others, or in the safety or 
sufficiency of any thing or action; 
doubt; suspicion. 



Irregular lines; small letter- 
stantly varying in sire; <:. o t 1 
last letters of words undecipherable, 
dwindling into mere stroke-. Hast} 
writing. 



Finals long only to fill otherwise 
blank spaces. 



Docility 

The quality of being docile; amen- Words not con nected; Croat Strokes 

able to training- easy to manage; never point downward; CapitaU 

tractable. never too high; words will 



146 



GRAPHOLOGY 



Domineer 
To exercise authority in an arbi- 
trary way; rule with insolence or 
unnecessary annoyance; to be 
overbearing. 



Unconscious shading; 
strokes. 



heavy down 



Dullness of Perception 
State or quality of mind that does 
not perceive quickly. 



Small letters rounded at top. 



Eccentricity 
Oddity; peculiarity; idiocyncrasy, 
either of taste, disposition, or ac- 
tion. 



Eccentric style of letters and writing; 
second or third stroke of capital M 
higher than first two strokes. 



Economy 

Disposition to save or spare; care- 
fulness in outlay; frugality; econ- 
omy in words or in dress; freedom 
from extravagance or waste. 



letters written close together; no 
left margin, writing is close up to 
edge of page. 



Effusiveness 

Demonstrativeness; overflowing 
with sentiment; gushing. 



Letters a, 0, open; t and d with wide 
loops; letters never compressed: 
letters hurriedly written; some only 
half formed; upper loop letters long. 



Egotism 

Conceit; egoism; self-assertion; 
self-conceit; self-confidence; self- 
consciousness; self-esteem; vani- 
ty; self-exaltation; the habit or 
practice of thinking much of one's 
self. 



Capitals too high for body of writ- 
ing ; tendency to ornamental writing, 
flourishing, and effort to elaborate on 
the capital letters. 



Elegance of Mind 

Refinement; gracefulness; polish; 
elegance of proportion, motion, 
style or manner. 



Graceful 
writing. 



and cultivated style of 



G B A I'HOLOO V 



47 



Elevation of Thought 

Aspiration; state or condition of 
being elevated; exaltation; as of 
the mind or of material things; 
elevation of thought, of style, of 
feeling. 



Down strokes lightly made; / 
ings ascending. 



Emotions 

Unusual or disturbed movement of 
the feelings; feelings aroused by 
pleasure or pain, activity or re- 
pose; may be regarded as simple 
or passionate emotions. 



Strokes becoming lighter toward end 



Energy 

Haste; zeal; activity of mind; 
vivacity; force; potency; vigor; 
habitual tendency for effective 
action; intensity and forcef ill- 
ness in spirit and conduct; capacity 
for performing mechanical work. 



Speed of writing energetic; letters 
hurriedly written, some only hall 
formed; /-cross at right of stem; / 
and d looped; letters extended; 
angular hand or, if in round hand, 
m and n like w and u. 



English Trait 

This trait is chiefly found among 
Anglo-Saxons lacking literary 
training. 



Finals of abbreviations, such as r in 
Mr., Mrs., Dr., etc, raised above 
base line; /-crossing looped low dot D 
on stem. 



Ennui 

Mental weariness produced by 
satiety or lack of interest; a feeling 
of listless tiredness; disgust or 
weariness; tedium. 



Lines more descending titan the 
words in the line. 



Enthusiasm 

Ardor; earnestness; ecstacy; fer- 
vency; inspiration; intense and 
rapturous feeling, felt or displayed. 



Upper strokes long; down strok.- 

shaded; en— strokes never 6t 
tog. 



i 4 8 



GRAPHOLO (- V 



Erratic 

A peculiar or eccentric person; 
not conforming to rules or stand- 
ards, or to what is considered pro- 
per; irregular conduct. 



Uneven writing; variable size of 
letters; irregular spacing of lines: 
diffused writing. 



Erotomania 

Mental derangement caused by 
love for opposite sex; love sick- 
ness; exaggerated or uncontroll- 
able sexual desire. 



Right slope; muddy, hasty appear- 
ance of writing; /-bars to right or 
flying off stem; down strokes par- 
tially shaded; cross strokes heavy. 



EXACTING Disposition 
Making unreasonable or burden- 
some demands; severe in require- 
ments; oppressive; compelling; 
strict application. 



Heavy writing; large or medium 

hand; down strokes shaded; t- 

bar dashed across the stem, some 
downward. 



Exactness 

Precision; perfectly conforming to 
a standard; strictly accurate or 
correct; to conceive or express ac- 
curately or precisely; exercising 
strict care or attention; methodi- 
cal. 



Punctuation carefully placed; every 
letter carefully made ; /-bar carefully 
crossing the stem. 



Exaggeration 

Extravagantly or untruthfully pre- 
sented ; overstatement. 



Long loops and strokes that extend to 
line below; excessively long loops. 



Exaltation 

Exuberance; a morbid mental 
state distinguished by ecstatic joy; 
abnormal optimism or delusions of 
grandeur; exalted sentiments. 



Lines very ascending. 



Excitability 

Liveliness; the quality of being Dashes used for periods that are 
excitable; susceptibility to excite- much elongated and quickly made, 
ment. 



GRAPHOLOGY 149 



EXCLUSIVENESS 

Reserve, of a nature or tendency Letters compressed; ,1, <>, <1 

that disposes one to limit social 

relations. 

Executive Ability (See Business 
Ability) 

Extravagance 

Excess; undue expenditure of Diffused hand, letters and v. 
money; profuse lavishness; prodi- widely spaced; margins wide; usu- 
gality; lack of moderation; ex- ally in large writing, 
travagance of language, dress, out- 
lay, ambition, or passion. 

Exuberance (See Exaltation) 

Exaltation. Lines very ascending. 

Faithfulness 

Constancy; fidelity; loyalty; the Only one form used for each letter. 
quality of being faithful, true, 
trustworthy in the performance of 

duty. 

Fancy 

Imagination; to suppose or believe Upper strokes long; (-bar above 

without substantial grounds; ini- stem, to right; bar sometimes 
agination. other times short, now and then a 

mere dot. 

Fastidiousness 

Fussiness; hard to please; easily Small letters very low; puncfi 
repelled or disgusted; over-nice; very carefully placed 

squeamish; finical. 

Fatalism 

A disposition to accept every event Final strokes to words descending 
or condition as preordained or con- vertically. 
trolled by destiny. 



150 



GRAPHOLOGY 



Fear 
Timidity; to regard with dread, 
fright, or terror; to be apprehen- 
sive or afraid ; desire to avoid dis- 
pleasing; to doubt; to be anxious 
about; to suspect 



Pinal strokes descending to right; 
strokes not weak. 



Feebleness 

Illness; lacking muscular power; 
weak from disease or age; debili- 
tated; frail; decrepit; infirm; 
weakly; sickly. 



General style unsteady; tendency of 
lines to descend ; upstrokes weak and 
unsteady. 



Feeling 

Sensitiveness; the capacity to feel 
deeply; refined sensibility shown 
in tenderness or ready sympathy. 



The incurve (an initial stroke carried 
to the left of the letter before begin- 
ning the letter itself); usually seen 
in the capitals M, N, U, C, E, K, and 
in some of the small letters. 



Ferocity (See Brutality) 



Fickleness 

Inconstancy; the state of being 
unduly changeable in feeling, judg- 
ment, or purpose; worrying; in- 
constant; capricious. 



Frequent changes in the form of 
several letters. 



Finesse 

Subtle contrivance used to gain a 
point; artifice; stratagem. 



Small letters smaller at end of words 
than at beginning; hasty writing. 



Firmness 

Firm will; the quality or state of 
being firm; solidity; steadiness; 
resoluteness; constancy; courage; 
the faculty that gives stability, per- 
sistency, and obstinacy. 



Down strokes firm; y and g ending 
with stroke and occasionally ending 
with tiny hook. 



GRAPHOLOGY 



151 



Flattery 
Trying to influence another by the 
use of false or excessive praise; 
insincere complimentary language 
or conduct. 

Flightiness 
The state or quality of being 
flighty; of a capricious or giddy 
nature or tendency; given to light- 
headed fancies or caprices; vola- 
tile in speech or conduct; slightly 
delirious. 

Flirtatiousness 

Coquetry; to act with giddy or 
trivial lightness; jeering or scoff- 
ing. 

Fluency of Speech 
Command of language; the qual- 
ity of being fluent; ease of speech 
or expression. 

Fluency of Thought 

Speaking or writing with facility. 
(Practically the same quality as 
Fluency of Speech, except that 
ideas or words flow more readily.) 

Forgetfulness 

A complete ceasing to remember; 
being apt to forget; negligent 
omission; inattention. 



Small 
round 



letter- 
loops. 



d and / with 



Uneven, straggling hand; variable 
size of letters; a and open. 



Forward slope; small letter d made 
with final upstroke turned gracefully 
to right; CTO6S stroke- bctoU Bhape; 

strokes generally weak. 

Easy running hand; d and / looped. 



Easy running hand; small writing; 
usually in the vertical; plain capitals 

not high. 



i and j seldom dotted; / uncn 
letters left out of word-; punctua- 
tion carelessly done or omitted. 



Form (Sense of) 

The nature of a thing as perceived 
by the senses or the intellect ; the 
instinctive ability to distinguish 
kind, state, or variation; the men- 
tal image or subjective view of an 
object highly developed. 



Capitals simple, graceful, and print- 
like; cross Btrokes Bhaded. 



I.S2 



(i R A P II O L G V 



Fortitude 

Strength or firmness of mind to 
endure pain or adversity patiently; 
patient and constant courage; en- 
during courage. 

Frankness 

Candor; quality of being frank; 
ingenuousness; to be outspoken; 
without concealment. 



All down strokes firm with final; 
ascending to right ; /' dots round. 



Small letters a and open. 



Friendliness 
Good will; the state or quality of 
being friendly; accessible, affable, 
amicable, cordial, sociable. 



Letters extended; m and ;/ like 
and 11. 



Frivolity 
Levity; a trilling act, thought, 
Baying, or practice; frivolousness. 

Fun (Love of) 

To indulge in fun; make sport; 
jest; the state or quality of being 

gay; doings prompted by spirit of 
light-hearted ness. 

Fussiness 

Fastidiousness; making much ado 
about small matters; fidgety; 
fretful disposition. 



Crossing of letter / scroll shape. 



/-crossing scroll shape with lines 
ascending. 



Small letters very low 
very carefully placed. 



punctuation 



Gaiety 

State of being gay; inspired by 
spirit of merriment or light- 
hearted ness; fun. 



/-crossing, scroll shaped. 



Garrulity 

Constant, trivial talking; habitu- 
ally talkative; chattering; to talk 
overmuch. 



Upper strokes very long; / and d 
with wide, inflated loops; a, and 
0, open; b with initial "tick" at be- 
ginning of stroke. 



G R A P II o i. o G V 



[53 



Generalization 

A general inference; an induction; 
notion, rule; thinking in terms of 
the concept or schematized idea. 



Small letters high. 



Generosity 

The quality of being generous; 
liberality, as of sentiment or con- 
duct; a disposition to give liber- 
ally or bestow favors heartily; 
the act of giving freely and kindly. 



Finals long, but not -il\ to 

fill otherwise blank spat e& 



Generosity of Affection 



Upstrokes of lower loop letters turn 
up to right instead of left. 



Geniality 

Amiability; the quality or state of 
being genial; kindliness of disposi- 
tion. 



Gentility 
The quality of being genteel or 
well-bred; refinement of manners. 



m and n like w and //; letfc 
tended; capitals not too high; Btyk 
not eccentric; down strokes 
rounding up to the left, rather than 
pointed to the right. 



Style graceful and cultivated 



Gentleness 

Softness and sweetness of disposi- 
tion; mildness; docility; absence 
of roughness. 



/-cross close down on stem; punctua- 
tion carefully placed; round hand; 
vertical or right slope; fine writing; 
slow, easy style. 



Gluttony 

The act or habit of eating to ex- 
cess; gourmandizing; one who 
indulges in anything to excess. 



All down strokes mudd> , Usually in 

large hand; either slope; 

writing. 



Gossip 

Prate, tattle, chat, idle or familiar 
talk. 



d and / with wide loop-; .: and 

open; stroke- \ lit dope. 



154 



GRAPHOLOGY 



Graciousness 

Courtliness ; kindly condescension ; 
affability; courteous bearing; mer- 
cifulness; graceful or attractive 
quality. 



Down strokes concave; capitals not 
low; never complicated or ungrace- 
ful; dots round; style graceful and 
cultured; m and n like w and u. 



Grandeur 

The combination of exalted quali- 
ties in a person, that impresses the 
mind with a sense of imposing 
dignity or greatness; nobility. 



Small letters high; down strokes 
concave; words well spaced; every 
letter carefully made; capitals never 
low; lines straight; small letters 
equal size; style never coarse. 



Grief 

Sadness; sorrow or mental distress. 



Lines descending; sub-normal stead- 
iness. 



GUARDEDNESS 

To exhibit caution; to be careful 
or circumspect in one's remarks. 



Dashes in place of periods; period 
after signature. 



Haste 
Celerity of movement; unseemly 
quickness of action; turned 
celerity; hurry. 



Hasty writing; some letters only 
half formed; /-cross at right of stem. 



Haughtiness 
The quality of being haughty; 
expressing in speech or manner a 
high opinion of self and contempt 
for others; proud and disdainful; 
arrogant. Syn. — Austere ; cold ; 
contemptuous; distant; insolent; 
suily; unapproachable. 



Capitals too high; down strokes con- 
cave. 



Health 
Freedom from sickness; bodily Normal steadiness; lower loop let- 
soundness; good physical condi- ters long; down strokes shaded; 
ti on> strokes firm; p short above, long 

below. 



G R A P h () I. o (, v 






Heart and Head (Struggle between) 



Loop letters at different angles. 



Heart Trouble 

Any morbid condition of the heart Strokes notched at top of letters. 
whether organic or sympathetic. 

Heedlessness 

Giving no heed; careless; thought- Punctuation carelessly done. 
less. 



Hesitation 
The act of hesitating; suspension 
of opinion; uncertainty; slowness 
of speech with pauses between 
words, arising from awkwardness, 
timidity, or indecision; a faltering 
of mind or speech. 



Strokes weak; /-cross at left of 
variable size of letter-; <>nc or more 
letters in a word written distant 
from the previous or succeeding 
letters. 



Honesty (Uprightness) 
To act justly and honorably; 
truthfulness; fair and candid in 
dealings. 



Small letters equal size; lines 
straight; vertical or forward slope; 
a and o open; d high; last letter in 
word larger than first. 



Hopefulness 

Having qualities that excite hope; 
promising success; desiring with 
confident expectation. 



Lines ascending; finals not used to 
fill otherwise blank spa< I 
upward. 



Humility 

Humble; a modest sense of one's 
own merit; state of mind without 
arrogance. 



Round hand; capitals low. 



Humor 

A facetious turn of thought; play- 
ful fancy; fun. 



Finals turned up. easy running 
hand; letter^ extended; / b.tr 
shaped. 



156 



(iRAPHOLOGY 



Hypocrisy 

Simulation or feigning to be what 
one is not; acting a false part; a 
deceitful show of good character, 
or counterfeiting a virtue; ex- 
treme insincerity; dissimulation. 



Letters broken at base; last few 
letters in a word undecipherable; 
hasty, indistinct writing. 



Iconoclast 

Disregard of, or assault upon, 
established opinions, beliefs, or 

institutions; one who assails tra- 
ditional beliefs. 



Capitals too high; down strokes firm 
and muddy; uneven writing, gener- 
ally in backhand script. 



Ideality 
The condition of being ideal, un- 
real, or imaginary* the jH)wer or 
tendency to form ideals. 



Upper strokes long; letters discon- 
nected; original style of letters or 

words. 



IGNORANCE 

State of being ignorant; lack of 
knowledge in general; want of 
information on topics embraced 
in the common knowledge of the 
world. 



Coarse and ungraceful writing; punc- 
tuation incorrect or absent; spelling 
imperfect; slow writing, usually in 
large hand. 



Illness 
The state of being sick or ill ; bodily 
indisposition; disease. 



Sub-normal steadiness; 
scending. 



lines de- 



bt agination 
The act or power of combining the 
products of past experience into 
modified, new, or ideal forms; the 
constructive or creative faculty. 



Upper strokes long; 
stem. 



/-bar above 



Imitation 

Faculty of imitating, that gives 
the abilitv to copy and conform. 



Cross strokes pointing upward. 



GRAPHOLOGY 



Immorality 
The quality or condition of being 
immoral; vice; wickedness; lack 
of purity; licentiousness. 



157 



Tendency to h< ihaded 

writing; muddy appearance of writ- 
ing; either sic 
heavy una!) script. 



Impatience 

Lack of patience; restless eager- 
ness for change or for the accom- 
plishment of things; intolerance of 
opposition or control. 

Impenetrability 

The quality of being impenetrable 
in any sense. 



Hasty writing; /-bar dashed off to 

the right; letters begin with straight, 
inflexible stroke; finals downward, 
sometimes ending with tiny hook. 



Signature 

stroke. 



inclosed by bwi • 



Impetuousness 
Spontaneous or inherent energy, 
passion, or feeling; rushing with 
force or vehemence. Syn. — Ex- 
citable, fiery, hasty, headlong, 
impulsive, passionate, rash, swift, 
quick. 



/-bar always at right of stem. 



Importance 

Weight or consequence in the so- 
cial scale, in public estimation, or 
in self-esteem; pretentiousness. 



Signature larger and different than 
body of writing. 



I M PRACTICALITY 

The state of being impractical. 



Margins wide. 



I MPRESSIONABLENESS 

Subject to or susceptible of impres- 
sion; easily impressed; emotional. 



Writing very sloping to right 

connected letter-. 



dii 



Improvidence 
The state or quality of being im- 
provident; lack of foresight or 
thrift. 



Margins wide: letters widel) 
punctuation carelessly done. 



158 



G R \ P 1101,0 r, y 



Impulsiveness 
The state of one actuated or liable 
to be actuated by impulse rather 
than by reason; unpremeditated. 

Inactivity (Physical) 
State or quality of being inactive; 
idleness; passiveness; sluggish- 
ness; lacking especial exertion or 
effort. 

Iv\i i i:\iion 

Lack of attention; neglect or 
failure to concentrate the mind 
upon or give heed to something. 



/-bar at right of stem; forward slope; 
disconnected letters. 



Lower loop letters short; round 
hand; / weakly crossed; /-bar weak. 



letters omitted in words; small let- 
ters j and j undotted; t uncrossed; 
uneven writing; left margins un- 
even. 



[nconsistem V 

Not consistent: logical incompati- 
bility; contradiction or contrari- 
ety; Inconsistent in an opinion, 
idea, act, or the like. 

Inconstancy 

Instability of affection or temper; 
fickleness; not uniform. 

Incredulity 

Incredulous; a withholding or re- 
fusal of belief; indisposition to 
believe; skepticism. 



Down strokes in same word at dif- 
ferent angles; variable size of let- 
ters. 



Several letters made in different 
forms throughout the writing. 



Capitals narrow at base. 



INCURIOSITY 

Lacking curiosity; uninterested; Small letters rounded at base, 
indifferent; devoid of curious or 
interesting qualities. 



Indecision 

Want of settled purpose or resolu- 
tion; failure or inability to form a 
judgment, or decide on a course of 
action; indetermination; irreso- 
lution. 



Strokes weak; /-bar at left of stem 
varying size of letters. 



(iKAI'MOLOGY 



159 



Independence 

Free from dependence upon others 
for guidance; self-direction or self- 
support; a spirit of self-reliance. 



Strokes firm; original style of letters 

or words lines straight; capitals 

not low; finals never descending to 
right. 



Indifference 

Unconcerned, indifferent, apathe- 
tic; lack of interest or feeling re- 
garding what is presented to the 
mind. 



Cross strokes descending. 



Indifference to Luxury 



Lines close together; not well- 
spaced writing. 



Individuality 

Individual or distinctive charac- 
ter; personality; the connected 
development of the activities char- 
acteristic of a person. 



Original style of letters or form ol 
words. 



Indolence 

Indisposition to exertion, arising 



from love of ease; 
ness; laziness. 



habitual idle- 



Writing slowly drawn; large, round 
hand; / uncrossed or those that are 
crossed made with curved bar, with 
ends turned downward. 



Industry 

Habit of attention; devotion to 
any useful or productive pursuit, 
work, or task, manual or mental; 
earnest, steady, or constant appli- 
cation to business. 



Angular, small hand; vertical, me- 
dium hand, with pointed tope; ener- 
getic writing; /-bar cither earefulK 
placed or at right of stem or aCTOM 
stem. 



Infidelity 

Lack of fidelity; unfaithful to a 
trust, duty, or vow; untrust- 
worthiness. 



Letters broken at base; | 

muddy down strokes; dosed a and 0; 

looped 0. 



i6o 



GRAPHOLOGY 



Ingenuity 
The quality of inventive power; 
cleverness in contriving, combin- 
ing, or originating; aptness; skill; 
intellectual ability; talent. 



Original method of making connec- 
tions of letters and words; odd or 
unusual style of writing. 



Ingenuousness 

Candid; frank or open in char- 
acter or quality; free from reserve, 
disguise, equivocation, or dissimu- 
lation. 



Small letters larger at end than at 
beginning of word; a and o open. 



Initiative 

The power to originate or start; 
the aptitude to develop or under- 
take new enterprises; the power of 
initiating. 



Usually in vertical hand; well- 
formed letters; uneven writing; let- 
ters disconnected; natural shading; 
lower loop letters ending in stroke 
and tiny hook; joining two letters by 
an original cross stroke: / heavily or 
carefully crossed — some upward. 



Inquisitiveness 

Addicted to investigation or re- 
search; inclined to the pursuit of 

knowledge; given to questioning; 
prying into; curiosity. 



Letters with oblique angles at base; 
Greek e; sharp base line. 



Insanity (See Unbalanced) 
The principal forms of insanity are : 
delusional, dementia, mania, mel- 
ancholia, and paranoia. Grapho- 
logically defined, insanity is a 
deranged mental condition such as 
deprives a person of the capacity 
to comprehend the nature and 
consequences of a particular act; 
morbid condition of the mind. 



Diffused writing; letters illy formed; 
uneven writing — straggling over the 
line; lines crowding each other; low- 
er loop letters extending into lines 
below; not well-spaced lines; small 
letters constantly changing and vary- 
ing in size; /-crossings weak. 
Note. The writing of an insane per- 
son may vary from the above, ac- 
cording to the form of morbidity. 



G B \IMIOLO(,V 



IM 



Insight 

Power or faculty of acute percep- 
tion or understanding; intellec- 
tual discernment; penetration; 
intuition — whether that power is 
regarded as a general inner faculty, 
a special capacity for, or the gift of, 
mystical vision. 



Small letters pointed at top; I 
ttected letters; hue u riling; high 
capitals. 



Insincerity 

Lack of sincerity; duplicity; dis- 
simulation; deceitfulness. 



Backhand writing; decreasing 

letters; hasty writing. 



Insistence 
The act of insisting; 
be persistent. 



urgency; to Down strokes all shaded; /-bar 
heavy; tiny hook at final 
letter y. 



Instinct 
A natural or acquired aptitude or 
tendency; a sense of what is fitting 
whether natural or acquired. 



1 )i>mnnccted lei 



Insusceptibility 

Lack of susceptibility; incapacity 
to feel or to receive; unimpressi- 
bleness. 



Vertical writing tending to the lu< k 
hand. 



Integrity 

Uprightness of character and 
soundness of moral principle; hon- 
esty; probity. 



Straight base line; inartistic writing: 
last letter in word larger than 
increasing aire of letters in words; 

uniform writing. 



Intellectuality 
Quality or state of being intellec- 
tual; possession of intcllcctu.il 
force or endowment. 



Small writing; (/-final curved U] 



62 



GRAPHOLOGY 



Intuition 

Quick perception of truth without 
conscious attention or reasoning; 
knowledge from within; instinc- 
tive knowledge or feeling. 



Disconnected letters; ascending lines 
on a straight base line. 



Irresolution 

Lack of resolution or firmness of 
purpose ; want of decision. 



Strokes weak; /-bar at left of stem. 



Irritability 
The state of being irritable; sus- 
ceptibility to anger or impatience. 



Periods much elongated; /-bar at 

right of stem and weakly made. 



Jealousy 

Any exercise Of B jealous feeling; 

apprehensive or suspicious of being 
outdone; distrustful as to fidelity 
of another; fearful; doubtful. 



Forward slope; the incurve empha- 
sized by finals dwindling to right. 



Jocosity 

Jocular; sportive; given to, done, Cross strokes 
or made, in jest. ascending. 



scroll shape; lines 



Judgment 

The mental act or attitude of de- 
cision with which the processes of 
observation and comparison are 
terminated. 



Letters connected; strokes firm; 
style fixed ; strokes and loops of one 
line clearly separated from lines 
above and below. 



Judgment (Lack of) 



Justice (Sense of) 

Adherence to truth or fact; fair- 
ness; the quality of being just; 
strict uprightness; rectitude; hon- 
esty. 



Uneven 
lines. 



writing; not well-spaced 



Lines exactly equidistant. 



G R A P H L G y 

Keen Minded 

Acute; astute; calculating; clev- Top of letters pointed; tenden 
er; ardent; knowing. angular hand. 

Kindliness 

Kindly disposition; the quality of Right slope; m and n like w and it; 
being kind. finals never cut short. 

Knavery 

The character or actions of one Small letters a and o, tightly closed; 
who is deceitful in dealings; lines irregular; small letters 
roguery; dishonesty; fraud; cun- stantly changing in size; small 
ning; a mean scoundrel. letters pointed at top; finals never 

ascending to right. 

Lack of Poise 

Without poise; to be destitute of, Uneven, straggling hand; variable 
without, or in want of; erratic. size of letters. 

Language (Command of) 

Power to obtain, use, dispose of, Style is easy; running hand; / and d 
or control; a mastery. looped. 

Lavishness 

Spending or bestowing extrava- Letters width Bpaced. 

gantly, either money, speech, or 
actions. 

Laziness 

The state or quality of being lazy; Round hand; writing Blowly drawn. 
idleness; inactivity; indolence. 

Levity 
Lightness of humor or tempera- Crossing of Utter t scroll b1 
ment; lack of mental gravity ; want 
of seriousness or earnestness; Iri- 
volity. 

Liberality 
The quality of being liberal or Finals long and horiaontal. 

generous; disposition to bestow 
abundantly; mental broadness or 
comprehensiveness; freedom of 
opinion or utterance. 



16 4 



G RAPHOL (i V 



Liberal Mind 

Free from narrowness or bigotry Finals long; words well spaced, 
in ideas or doctrines. 



Literary Taste 

Versed in or devoted to literature; 
a liking for literary work or worthy 
of literature in the highest sense. 



Small writing; Creek e and d. 



Logic 

The science or doctrine of correct 
thinking; a right use of thought 
or the rational powers, or the habit 
or gift of using then rightly; de- 
duction; a natural and inevitable 
Conclusion from any .set of circum- 
stances or facts. 



Small writing; connected letters. 



Loquaciousness (Sec Garrulous) 
Given to continual talking; talk- 
ative; chattering; one apt to 
disclose secrets. 



Small letters d and / with wide loops; 
upper loop letters long; a and open. 



Love 

Affection; to have a feeling of af- 
fection or regard for; to entertain 
a feeling of tenderness or passion 
inspired by the sexual relation. 



Right slope — the more slope t he- 
greater the susceptibility; long lower 
loops. 



Love of Admiration 

An emotion of approbation of self; 
pleased or gratified contemplation 
of self. 



Signature made with, or embellished 
by flourishes. 



Love of Display 
Ostentation. 



Flourishes used in writing. 



Love of Ease 



Round hand; right slope; slow hand. 



G R A P ii o L o G v 






Love of Fun 

The state or quality of being gay; /-crossing scroll shape with 
doings prompted by spirit of ascending, 
light-heartedness. 



Love of Luxury 



Love of the Marveloi 



Lines widely spared; round hand; 
shaded writing. 



Finals ascending vertically above 
word. 



Loyalty 

Loyal; hearty service in friend- Only one form used tor each Utter; 
ship, business, or love, or in any fine writing; straight lines. 
cause. 



Lucidity 

To be lucid; intellectually bright 
and clear; mentally sound; sane- 
ness; perspicuity. 



Strokes and loops of one line dead) 
separated from lines above and be- 
low. 



Magnaminity 

Generosity in sentiment or con- 
duct toward others; loftiness of 
character or action ; large hearted- 
ness. 



Malice 

Hate; a disposition or intent to 
injure another or others for the 
gratification of anger, jealousy, 
hatred, revenge, or the like. 



Small letters high; down Btrokea 
concave; words well spaced; 
letter carefully made; capitals never 
low; style never coarse or ui - 

ful; lines straight; small letters 
equal size. 



Vertical or backhand; p made with 
the lower point sharp and Upstroke 

on right of stem; Utters in- 
tended;;;; and n. unlike :c; and u; 
no incurves. 



Managerial (Manager) 
Of, pertaining to, or characteristic 

of, a manager; one having the 



Small letters neither \er\ loWDOf very 
high; strokes and loopfl oi die line 



1 66 



GRAPHOLOGY 



ability to manage; a person skilled 
in financial or business manage- 
ment. 



Masterful 

Having the characteristics or force 
of a master; able to control; in- 
dicative of the power, skill, or tem- 
per of a master. 



clearly separated from lines above 
and below; small letters pointed at 
top; punctuation carefully placed; 
margins never wide; / carefully 
crossed; letters not widely spaced; 
small letters decreasing in size; un- 
conscious, heavy shading; signature 
fluently written. 



Heavy, firm strokes; plain capitals; 
tendency to small writing; /-bar 
carefully placed across the stem; t- 
bar heavy and long. 



Mathematics (Taste for) 
Liking for mathematics. 



Figures well, and gracefully, formed; 
numerals 7 and o. with final strokes 
ending gracefully below the line. 



Matter of Fact Nature 

A nature comparing to absolute Finals turned down. 
reality; not fanciful or imaginative. 



Mechanical Tastes 



Original method of making connec- 
tions 



Mediocrity 
The quality or state of being medi- 
ocre; medium or merely common- 
place ability. 



Copybook style of writing; awkward 
or ornamental capitals. 



M EDIT ATI VENESS 

Given to serious reflection; 
and thoughtful disposition. 



quiet Small letters very low; / and d with- 
out loops; round hand. 



Melancholy 

Morbidly gloomy; sad and down- 
hearted; depressed in spirits; de- 
jected. 



Descending lines. 



GRAPHOLOGY 



I67 



Memory 

The general capacity or function 
of mentally reproducing previous 
experiences. 



Letters i and j closely dotted; I 
carefully crossed; careful punctua- 
tion. 



Method 

Systematic order; regularity; or- 
derly arrangement; system. 



Every letter legible; usually small 
hand; neat, uniform writing, well 
spaced; right margin even; capital- 
plain. 



Mildness 

Moderate in action or disposition; 
tender, gentle, kind ; not severe or 
cruel. 



Round, forward hand; fine writing; 

/-bar dose down on >iem. 



Mimicry 
The act or art of imitating, espe- 
cially for sport or in ridicule; sim- 
ulation. 



Cross strokes pointing upward. 



Mind (Activity of) 

Broad mind; elegance of mind; 
liberal mind; scientific mind. 



Small writing; letters hurriedly writ- 
ten some only half formed; /-bar on 
right of stem. 



Minutiae 

Small or unimportant details; 
smallness; very exact detail. 



Small letters low. but not meaning 
small writing; capitals -in. ill; 
small Inter- pointed at top. 



Mirthfulness 

Full of mirth or merriment; merry 
festive; gaiety. 



Cross strokes scroll Bhape; lit 

cending. 



Miserliness 

Miserly disposition or nature; to 
save and hoard; avaricious. 



Letters crowded together; anal let- 
ters hardly finished; hooks at end oi 
Btrokes; vertical or fine right 
punctuation careful!) plaa d. 



1 68 



G K A V II () I. O G V 



Mistrust 
To regard with suspicion or jeal- 
ousy ; to suspect ; doubt ; lack of a >n- 
fidence. 

Mobility 

Characterized by ease or freedom 
of motion; to change easily in ex- 
pression or in state of mind. 

Modesty 
State or quality of being modes t; 
freedom from boldness or forward" 
ness; unobtrusive; delicacy <>r 
purity of thought, character, feel- 
ing, or conduct. 

Moods {See Changedbleness) 
Morbidness 

Being in a diseased or abnormal 
Btate; not sound and healthful; 
denoting a diseased or unsound 
condition of body or mind. 



Muscularity 

State or quality of being muscular; 
one possessing well-developed mus- 
cles; powerful; vigorous. 

Musical 

Full of music; capable of produc- 
ing music, inspired with or attach- 
ed to music; having a taste or 
talent for music. 

Musical Sensuousness 

The quality of being keenly suscep- 
tible to the pleasures of music 
through the senses and a sensuous 
imagination, whether of the physi- 
cal or aesthetic order. 



Finals long and only to fill otherw ise 
blank spaces, 



Style constantly changing; uneven 
writing; /-bar to right of stem. 



Absence of all flourishes; inartistic 

writing; plain capitals. 



I descending lines; d with wide loops. 
NOTE. Normally descending lines 
.ire not always indicative of morbid 
[less; the descent must be unusually 
M«, with what would appear to be 
■'careless or indifferent" writing. 

/>-stem short above, long below, 
looped; strokes firm. 



Small letters curved at the bottom 
of their last down strokes; long lower 
loops; even swing of pen. 



Small letters curved at the bottom of 
their last down strokes; even swing 
of the pen; cross strokes shaded 
particularly at the base; long lower 
loops. 



GRAPHOLOGY 






Musical Taste (Deficient) 

Small letters angular or sharp at 
bottom of their last down Btrol 

Narrow Mindedness 

Limited in scope; not broad or Words dose together— crowded 

liberal in views or sentiments; ing. 
bigoted. 

Neatness 

Strict order; cleanliness and nice- Style neat; small writing— or at 
ty; to be neat. least not large and coarse; neat, uni- 

form writing; well-spaced words and 

lines. 

Negligence 
The act of neglecting; disregard Punctuation entirely omitted. 
for appearances or for convention- 
alities. 



Nervousness 

Easily disturbed or agitated owing 
to weak nerves; excitability; tim- 
idity; abounding in nerve or 
nerve-force; manifesting bodily 
force or vigor; exhibiting or char- 
acterized by mental force and with 
strong sensibilities; pertaining to 
a temperament characterized by a 
preponderance of the mental over 
the physical. 



Angularity of the writing, while not 

necessarily the angular hand; Btrokes 
tremulous, characterized l>> the 
agitation that usually attends mental 

excitement; more generally ol 

in the lower and upper loop letters. 



Nimble Witted 

Quickwitted, a ready mind. 

Nobility 

Dignity and grace of character; 

not selfish, cowardly, or mean; 
high minded. 



Angularity ol the writing; I 

small letters pointed; D8 - 



Small letters high; down strokes 
concave; words well spa 
letter carefully made; capitali 
low ; style not coarse; lia 
small letters equal rise* 



i;o 



GRAPHOLOGY 



Notional 

Existing in imagination only; vis- 
ionary; not real; fantastical; 
ideal; given to hobbies; whimsi- 
cal; fanciful; possessed of, or 
influenced by, pet ideas. 

Obedience 

Submission to; compliance with a 
command or duty; the ad or habit 

of yielding willingly to restraint. 

Observation 

The act, power, or habit of observ- 
ing or taking notice; the ait of 
perceiving or fixing the powers of 
sense or intellect on anything. 

Obstinacy 

Stubborn adherence to purpose, 
opinion, or course of action, ari-in^ 
from the desire to have one's own 
way, and generally somewhat 
unreasonable; stubbornness; un- 
yielding; difficult to control or 
subdue. 



Lower loop Utters long (must be 
characteristic of the writing). 



Capitals low; /-bar close down on 
stem; strokes not firm. 



Connected letters; /-bar very short 
and placed squarely across the stem. 



Words connected with sweeping 
dashes; unconscious shading of down 
strokes; f made with stroke instead 
of loop; / heavily crossed; usually 
downward; finals end with hook and 
downward. 



Oestrual (See Erotomania) 

Being under the influence of erotic 
impulse; uncontrollable sexual 
desire. 



Opinionated 

Unreasonably or stubbornly per- 
sistent in opinion; unduly at- 
tached to one's own views; con- 
ceited. 



Angularity of writing; tops of letters 
pointed; down strokes heavily or 
coarsely shaded; general appearance 
of writing muddy; / and d have in- 
flated loops; lower loop letters long; 
tendency to ornamentation of capi- 
tals. 

Tendency to conventional writing; 
connected letters — and sometimes 
the words; /-bar crossed downward 
— snappishly; final strokes of small 
letters d and t below line; hooks on 
final strokes. 



G R A P II o LOG V 



171 



Optimism 

Disposition to take the most hope- 
ful view or to look on the brightest 
side of things; the belief that 
whatever occurs is for the best and 
is right and good; sanguine tem- 
perament. 



Lines ascending;strong down strokes 



Orderliness 

Having regard for method and ar- 
rangement; methodical; syste- 
matic. 



Every letter legible; 
well spaced writing. 



margins even; 



Organizer 

One who has the ability to bring 
into systematic connection and 
cooperation as parts of the whole; 
to prepare for transaction of busi- 
ness; one having the ability to 
organize. 



Usually vertical hand; tops pointed; 
hasty, uniform writing; lines well 
spaced; capitals plain; lower loop 
letters finish with stroke, or long 
loop. 



Originality 

The power of producing new con- 
ceptions, inventions, etc.; the 
quality of being novel or of having 
mental freshness and vigor; oddity. 



Original style of letters and connec- 
tions; variable size of letters (not 
uneven writing.) 



Ostentation 

The act of displaying ambitiously; 
display dictated by vanity. 



Flourishes. 



Painstaking 

Taking pains; giving, or charac- 
terized by, careful attention ; scrup- 
ulous and faithful in performance; 
diligent and accurate work. 



Uniform writing; onlj orn 

used for each letter; pun< I 

carefully placed; well-spaced wilt- 
ing. 



Parental Love 
Love of parents. 



Right slope 
the left 



finals curving • ■■ 



172 



GRAPHOLO G Y 



Parsimony 

Excessive saving; extreme econ- 
omy; closeness; stinginess. 



Partiality 

Inclination to favor one side of a 
question more than the other; an 
undue bias of mind toward one 
party or Bide; unfairness; bias. 

Particularization 
The act of enumerating the details 

or particulars of; paying attention 
to particulars or details. 

Passionate 
Capable of, or inclined to. strong 

passion; excitable; easily moved 

to anger; quick tempered. 
Passtvbnbss 

Being passive; inaction; passive 
submission in obedience or suffer- 
ing; calmness, placidity. 

PATIENCE 

The quality or habit of being pa- 
tient; possessing perseverance and 
untiring energy; ability to await 
events without perturbation or dis- 
content; not in haste. 



Letters crowded together; final let- 
ters hardly finished; hooks at end 
of strokes; usually in vertical hand; 
punctuation carefully placed. 

Lines unevenly spaced. 



Small letters low. 



Angularity of writing; variable size 
of letters; uneven writing. 



Round hand; vertical writing, tend- 
ing to right slope; the latter is more 
general with women. 



Initial strokes absent; neat, uniform 
writing; tendency to small writing. 



Peaceableness 

Inclined to peace; not quarrel 
some. 



p made with round turn and upstroke 
on left of stem; round hand. 



Penetration 

Ability to penetrate mentally; 
acuteness; sagacity; discernment; 
acumen. 



Small letters pointed at top. Discon- 
nected letters. 



<■ R A PHO L o G V 



173 



Penuriousness 

Excessively sparing or saving in Letters crowded together; final 

the use of money; yielding Utile; letters hardly finished; hooks a! end 

not liberal. ( ,f strokes; punctuation carefully 

placed. 
Perception (Dullness of) 

{See Dullness of Perception) Small letters rounded .it top. 



Perfection (Desire for) 

{See Desire for Improvement) 

Perseverance 

Act, quality, or habit of persever- 
ing; steadfast pursuit, or prosecu- 
tion of a resolution; persistence in 
purpose and effort. 



Letters mended or touched up. 



Hooks at end strokes; v and 

ing in strokes instead of loops; initial 

strokes absent. 



Persistency 
The mental quality of being per- 
sistent; obstinate resolution; te- 
nacity; doggedness. 



Hooks at end of strokes; v and g 
ending in strokes instead of loops; 
initial strokes absent. 



Perspicuity 

Clearness of perception or style; 
the logical method of conveying 
an author's meaning unmistak- 
ably; freedom from obscurity, 
intricacy, or ambiguity; lucidity. 



Small letters pointed at top; usualK 
in small writing <>r smaller than medi- 
um; connected let; 



Pertinacity 

Persistent tenacity of purpose; Words connected. 
unyielding adherence; dogged per- 
severance. 



Pessimism 
A disposition to take a gloomy or 
despairing view of affairs; ten- 
dency to look on the dark side; a 
habit of anticipating failure or 
misfortune; depreciating good; 
imputing evil. 



Lines descending. 



74 



G RAPHOLOG Y 



Pettiness 

Meanness; small ncss in action or Small letters very low; words close 

spirit; to be petty. together. 

Petulance 

Impatience; capaciousness; tern- Dots much elongated; /-bars at right 

porary peevishness; fretfulness. of stem. 



Philanthropy 

Disposition or effort bo promote Letters extended; upstroke of lower 
the happiness or social elevation of loop letters turn up to right instead 
others; comprehensive benevo- of to left; right slope. 
lence; love of man. 



Philoprogenitiveness 
The love of offspring or the faculty Right slope; finals curling over to 
of it; a tendency to pet or foster left. 

dependents. 



Physical Activity 



Lower loop letters made with stroke 
and long; angularity of writing; 
strokes firm. 



Physical Inactivity 



Physical Weakness 

(Not illness) 



Lower loop letters short below and 
longer above. 



p-stem long above and short below. 



Pleasure (Desire for) 



Lines more ascending than the words. 



Poetic Taste 



Disconnected letters; long / loops; 
w rounded, emphasized by a lasso 
stroke. 



(i K A P H o LOG V 



175 



Poise 
The state or quality of being bal- 
anced ; equilibrium ; rest. 



Round hand; a and dosed; Bmall 

to medium sized writing. 



POSITIVENESS 

Openly and plainly expressed; 
explicit; not admitting of doubt or 
denial; incontestible; free from 
doubt or hesitation. 



Angular writing; heavy strokes; 
/-bar heavy and club shaped; lower 
stroke of p pointed and turned up on 
right of stroke. 



Practicality 

The quality of being practical; 
one said to be trained by, or in, 
practice or experience ; opposed to 
ideal. 



Margins absent, tending to angular, 
vertical writing; neat, uniform, well- 
spaced writing; lines straight ; con- 
nected letters; / stroke instead of 
loop. 



Precipitousness 

Headlong in disposition or hasty 
in action; rashness; the act of 
urging a matter forward prema- 
turely or inconsiderately. 



/-cross dashed off to right of, and 
above, stem. 



Precision 
To be precise; the quality of style 
that expresses exactly and clearly 
what a writer or speaker intends. 



Neat, uniform writing, every letter 
carefully made; / carefully a 
punctuation carefully placed; tin 
tendency is to small writing, or leas 
than medium. 



Presumption 

Blind, headstrong, or over-weening 
confidence or self-assertion; ven 
turesomeness in undertaking some- 
thing without reasonable prospect 

of success, or against the usual 
probabilities of safety; the act ol 
forming a judgment on probable 
grounds; assuming too much. 



Strokes firm; capital.- tOO 

usually in Hi*- vertical hand 
larger than medium in sise. 



1 7 6 



GRAPHOLOGY 



Pretension 
A claim assumed or advanced, 
whether false or well-founded as 
to possession, right, dignity; to 
pretend. 



Capitals loo high; flourishes. 



Prevarication 
The act of provoking an action or a 
quibble or misleading statement, 
intended to deceive, or u seeming 
denial or affirmation that is not 
express falsehood. 



Letters in each word are decreased 
in size — the last letter being smaller 
than the first letter in the word. 



Pride 

I treasonable conceit of one's own 
superiority, whether as to talent, 

wealth, beauty, accomplishments, 
rank, office, or other distinction, 
with correspondingly contemptu- 
ous feeling towards others; a 
proper sense of dignity, character, 
and worth; aversion to that which 
is or is to be unworthy of one's 
character, station, or name; self- 
respect. 



Capitals too high for body of writing; 
.small letter d with high stem, either 
looped or sharply made. 



Procrastination 

Putting off; dilatoriness; delay, 
especially culpable delay. 



Uneven writing; /-cross at left of 
stem ; i-dot to left and high. 



Prodigality 

Extravagance in the expenditure 
of money or things; vicious or 
unnecessary expenditure. 



Letters widely spaced; lower loop 
letters extend to line below. 



Progressiveness 
Advancement; making or tending 
to progress. 



Words well spaced; heavy uncon- 
scious shading; t heavily crossed. 



GRAPHOLOGY 



177 



Protectiveness 

The desire to shield from harm or Finals curling over to left 

intrusion. 



Prudence 

Carefulness to avoid practical mis- 
takes; caution; good judgment 
and foresight in practical affairs; 
economy; discretion. 



Style of writing fixed; punctuation 
carefully placed; /-bar never at right 

of stem. 



Psychic Qualities 
Of or pertaining to unusual opera- 
tions of the mind or to occult 
phenomena. 

Pugnacious 

Disposed or inclined to fight; quar- 
relsome; contentious. 



Punctuality 

Being punctual in any sense; 
promptness in doing, or exactness 
in occurring; faithfulness to a 
time promised. 



Disconnected letters — the more the 
letters are separated the gre a ter the 
significance; fine writing; well- 
spaced writing; lines widely spaced 

Heavy, coarse writing; letter 
with a straight inflexible stroke; let- 
ters never compressed; /-bar a1 
right of and above stem; /> made 

with lower point sharp and upstroke 
at right of stem. 

/-bar never at left of -tern: punctua- 
tion carefully placed. 



Purity 

Character or state of being pure in 

any sense; 

cence. 



moral cleanness; inno- 



Down strokes light. 



Quarrelsomeness 

Given to quarreling; apt or dis- 
posed to quarrel; irascibleness; a 
contentious disposition. 



Disconnected letters; /-bar higher 

than top of -teni and to the ri^lit ; p 
made With lower point sharp and up- 
stroke at riy;ht of stem; initial Bl 

absent; /-dots much elongated ;capi 

tals never low; letter- I ■ \ ■ : 

pressed. 



1 7 8 



GRAPHOLOGY 



Quickness 

State or quality of being quick; 
liveliness; activity; readiness; a- 
cuteness of perception or sensi- 
bility; alertness. 



Angular writing; hasty and indis- 
tinct writing; i-dot at right and 
high; /-bar at right of stem. 



Quietness 

The state or quality of being 
quiet in any sense. 



Vertical hand; round writing; fine 
writing; tops of small letters never 
pointed. 



Rapacity 

The quality <>r character of being 
rapacious; the practice or act of 
obtaining profit by oppression; 

a\ arice. 



betters crowded together; final 
Utters hardly finished; hooks at end 
of strokes; uneven writing; ten- 
dency to the angular, vertical hand; 
punctuation carefully placed. 



Rashness 
The quality or state of being rash 
recklessness. 



Finals ascending to right; punctua- 
tion carelessly done. 



Reasoning Powers (Deductive) 
The mental act, process, or faculty 
of deriving conclusions from facts 
or propositions admitted or as- 
sumed for the sake of argument. 



Letters connected. 



Recklessness 

Rashness; destitude of heed or 
concern for consequences; heed- 
less of danger; desperate; not 
caring or noting; neglect. 



Finals ascending to right; punctua- 
tion carelessly done. 



Refinement 

Fineness or chasteness of thought, 
taste, manner, or language; free- 
dom from coarseness or vulgarity. 



Style graceful and cultivated. 



GRAPHOLOGY 






Reflectiveness 

Given to reflection or thought; Small writing; t and d without 1 

meditative; turning the attention 
upon the processes of the mind 
itself. 



Reliability 

The quality of being reliable; that 
which may be relied upon; worthy 
of confidence; to be depended 
upon; trustworthiness; honesty. 



Lines Btraight; Bmall letters equal 



Reserve 
To keep back; to keep one's own 
thoughts; reserve of manner; to 
be distant, undemonstrative. 



Letters compress ed; a and o • 



Resistence 
The means or power of resisting; Cross strokes strong, 
to make opposition; antagonize. 



Resolution 
The state or character of being 
resolute; steadfastness of purpose 
and firmness in adhering to it; 
active fortitude; determination. 



Strokes becoming heavier toward 

end. 



Responsiveness 

Inclined or ready to respond; be- 
ing in accord, sympathy, or har- 
mony; susceptibility. 



Forward hand, very sloping. 



Restless 

Always active or moving; never 
quiet; unable or disinclined to 
rest; given to incessant activity; 
uneasy; constantly seeking change. 



Style of writing constantly < hinging; 
letters hurriedly w ritte n , 
half formed. 



Restrained Buoyancy [See Buoy- 
ancy Restrained) 



l8o GRAPHOLOGY 



Reticence 
The quality of being reticent; re- Letters compressed; a and o closed, 
serve in speech. 

Revengeful 

Cherishing the disposition and pur- Heavy writing, 
pose of revenge ; vindictive. 

Reverence 
Veneration; regarding with pro- Right slope; capitals low; down 
found respect and affection; treat- strokes light, 
ing with deference. 

RHYTHM (Sense of) 
Harmonious movement or sound; Letters extended; even swing of 
accent, tunc; characterized by pen. 
regular recurrence of impulse. 

Righteous 
Characterized by the endeavor to Straight lines. 

conform to the right; upright. 
ROMANTICNESS 

State of being romantic; extrava- Exclamation, interrogation, quota- 

gantly ideal; sentimental rather tion marks, and underscore much 

than rational; fandfulness; vis- used; long loops. 
ionary; dreamy. 

Sadness 

The state or condition of being sad ; Lines descending, 
depression of spirits; a feeling of 
grief or gloom. 

Sagacity 

The quality of being sagacious; Small letters pointed at top; some 
shrewdness; ready and accurate letters in words disconnected; strokes 
discernment and judgment. and loops of one line clearly separated 

from lines above and below; style 

fixed. 



GRAPHOLOGY 



[8] 



Sarcasm 

A keenly ironical, scornful, or Small letters d and i with sharply 
taunting expression; cutting and pointed Btems. 

reproachful language. 

Scientific Mind 

A mind capable of understanding Letters square shaped. 

scientific subjects; having exact 
knowledge or perception; well- 
versed in science or a science. 

Secretiveness 

Inclination or tendency to secrete Crowded writing; letters a and o 

or conceal, the faculty and dis- tightly closed; final of small 1« • 
position that induces concealment tied to the up-stroke in a link- "twi-i." 
or deception. 



Self-Appreciation 

Appreciation of one's self; undue 
consciousness; self-respect. 



Capitals high. 



Self-Assertion 

The characteristic of asserting 
one's self or one's rights or claims 
in an assuming manner. 



Capitals too high; stroke! 
letters never compn 



Self-Assurance 

The mental state of feeling confi- 
dent of one's own abilities. 



Finals ascending to right; /> made 
with lower point sharp and u| 
on right of Btem; lift 
tale never low; letters never com- 
pressed; strokes firm; style i 



Self-Consciousness 

The act, condition, or quality of 
being or becoming immediately 
aware of the activities or states of 
self; reflexively conscious. 



Capitals high; finals desc en di 
right; usually in backhand writing. 



1 82 



G R A rilOLOGY 



Self-Control 

The act, power, or habit of having 
one's faculties or energies, espe- 
cially the inclinations and emo- 
tions, under control; sell -com- 
mand. 



Strokes firm; /-bar not at left of 
stem; /-dots round. 



Self-Esteem 
Self-respect; a good opinion of 
one's self or of one's character, 
attainments, or powers; the fac- 
ulty that gives dignity and self 
reliance. 



Capitals high. 



Self-Intbrest 

One's own interest or advantage, 
especially without regard to what 
is right or due to others, 



Backhand writing. 



Selfishness 

Indue regard for one's own inter- 
est, gratification, advantage, <>r Un- 
like, regardless of others. 



Finals absent; large 
writing. 



heavy, diffuse 



Self-Reliant 

Relying on one's own abilities, re- 
sources, or judgment; indepen- 
dence of character. 



Tops of small letters pointed; 
generally in the angular hand. 



more 



Self-Respect 

Respect or proper regard for one's Capitals high 
own person and character. open. 



d-stem high; a and o 



Self-Restraint 

The act or process of restraining; 
holding one's self back, as of the 
passions, or by the force of one's 
own will; mental, moral, or physi- 
cal hindrance; repression. 



Round, forward hand; words close 
together; strokes and loops of one 
line clearly separated from lines 
above and below. 



(. R A i» ii OLOG 1 






Self-Satisfaction 

Satisfaction with one's own actions Lasl Btroke of capital M higher 
and characteristics; self-compla- the Brat or second Btroke. 
cency. 

Self-Sufficiency 

Overweening confidence in one's Lasl I capital if higher than 

own endowments, knowledge, or the first or second Btroki 
worth; self-satisfied; haughty; 
overbearing; self-conceited. 



Sense of Form (See Form) 



Sense of Justice (See Justice) 



Capitals simple, graceful, and print- 
like. 



Lines exactly equidistant 



Sensibility 

State or quality of being sensible; Right slope — very doping. 
the power or capacity of feeling, 
including both sensation and aes- 
thetic and rational emotion; sus- 
ceptibility to outside influences. 

Sensitiveness 

The state or quality of being sensi- Letters incurve; d looped; vari 
tive; impressionable. size of letters, 

Sensuality 

Sensual; free indulgence in carnal Coarse heavy hand; usually in 1 
or sensual pleasure, or in any mode hand; down Btrokes muddy. 

of it; the spirit that cherishes the 
animal appetites and seeks their 
gratification. 

Sensuousness 

The state of being keenly suscep- Cross strokes -haded, 
tible to influences through the 
senses and sensuous Imagination, 

whether of the physical or aesthe- 
tic order; Opposed to spiritual. 



1 84 



GRAPHOLOGY 



Sensuousness (Absence of) 
Not sensuous. 

Sensuousness of Color 

Keenly fond of, or moved to, 
ecstacy by color. 

Sensuousness of Form 

Sense of configuration; apprecia- 
tion and recognition of shapes, 
outlines, and contours. 

Sensuousness (Musical) 

Love of melody; musical ability; 
sense of tone; the ability to ap- 
preciate concord, modulation, and 
harmony. 

Sentimentality 

State of being sentimental; over 
indulgence in sentimental feeling. 

Sequence of Thought 
Deduction. 

Seriousness 

( .rave and earnest in quality, man- 
ner, feeling, or disposition; not 
inclined to joke or trifle; thought- 
ful, sober, earnest. 

Servility 

Abject or cringing submission or 
deference; slavishness; to be 
servile. 

Severity 

Sternness; the quality of being 
severe; harshness or cruelty of 
disposition or treatment; want of 
kindness or gentleness in dealing 
with others. 



Cross strokes light ; fine writing. 



Cross strokes shaded; capitals are 
simple, graceful, and curved. 



Cross strokes shaded; capitals are 
simple, graceful, and print like. 



Cross strokes shaded; small letters 
curved at bottom of their last down 
Strokes; lower loops long; even 
swing of pen. 

Round, forward slope; exclamation, 
interrogation, quotation marks, and 
underscore much used. 



Letters connected. 



Cross strokes straight. 



Capitals excessively low; signature 
smaller than body of text. 



Vertical, tending to the backhand; 
angularity of the writing; strokes 
firm; style fixed; m and n unlike 
the w and u; letters not extended; 
punctuation not carelessly done. 



G R A P II O LOG Y 



i»S 



Shallowness 

Narrow mindedness; lacking intel- 
lectual depth; not wise or pro- 
found; superficial. 



Words 

weak. 






Shrewd 

Having keen insight, especially in 
small or worldly matters; display- 
ing keen discernment; sharp; 
sagacious. 

Shyness 

Keeping away through sensitive- 
ness; inclined to shrink back from 
bashfulness; reserve; coyness. 



Small letters pointed at 

Letters disconm 

loops of one line dearrj 

from lines above and below; 

fixed. 



Letters compressed; do Sou 
capitals low; cross strokes straight 



Simplicity of Taste 

Tastes that are simple; absence of 
ostentation; free from affectation 
or pretension. 

Sincerity 

State or quality of being sincere; 
honesty of purpose or character; 
freedom from hypocrisy, deceit or 
simulation; truthfulness; honesty. 



Capitals made by enla:. 

letters; vertical hand; fine writing; 

inartistic formation and varial 

of letters. 

Lines straight; small letters equal 
size; inartistic, schoolboy hand, or 
the tendency to ungraceful writing; 
letters increase in size in t Ik- 



Skepticism 

A doubting or incredulous state of 
mind; requiring more proof; dis- 
trustful. 



Capitals narrow at base; co; i 

letters. 



Sleepiness 

Inclination to sleep; 



drowsiness. 



Slovenliness 
The state or quality of being 

slovenly; carelessness in one's 

dress, or neglecl of cleanliness; 

negligent of neatness and order. 



Words running into i 
General 

hand; 

left m n; punctuation 

ssly done. 



186 



(. R A I" II O L O G Y 



Slowness 

Quality of being slow in any sense. 



Slyness 

Quality of being sly; craftiness; 

cunning. 



Sociability 
The quality or character of being 
sociable; amiability. 



Social Ambition 
Disposition; to hold friendly inter- 

c( turse with others ; companionable ; 
sociable. 



In cultured hand — the vertical; in 
illiterate hand — the forward slope; 
/-bars to left of stem; j-dot to left. 



a and o tightly closed, lines irregu- 
lar, small letters constantly varying 
in size; small tetters pointed at top; 

finals never ascending to right. 



Diffused writing; m and n like w and 
u; letters extended; capitals not too 

high; style not ('(-centric; down 
stroke of p rounding up to left rather 
than pointed to right. 



First strokes of capital A' or M much 
higher than second or third. 



Speculative 
Given to speculation; using the 

discursive method of intellect, 

resulting from inference, as op- 
posed to intuition and experience; 
the analytical and inferential intel- 
lect. 



Writing that is not well spaced; lower 
loop letters extend into line below. 



Speech (Fluency of) 

Command of language ; the facu 1 1 y 
of expressing thought fluently and 
readily. 



Easy running hand; d and / looped. 



Spirituality 

The character of being spiritual or 
free from worldliness; the faculty 
that gives a feeling of confidence; 
sense of the spiritual; opposed to 
materiality. 



All down strokes light — no shade; 
disconnected letters very marked; 
plain capitals. 



(. R A P H o L o G V 






Stability 

The quality or character of being 
steady or constant; steadfastness 
of resolution or purpose; con- 
stancy. 



Style of writinf all down 

strokes are of i: ant. 



Steadiness 

The quality of being steady; free 
from intemperance and dissipa- 
tion; industrious, sober, reliable; 
constant in mind or conduct. 



Style of writing fixed; all down 
strokes lightly made and of tl.< 
slant. 



Sternness 

The quality of being stern ; having 
an austere disposition; unyielding 
in character; rigidly steadfast; 
unmoved by sympathy or emo- 
tions; resolute. 



Vertical writing, with tender 
the backhand; strokes firm; 
fixed; letters not extended; punctu- 
ation not carelessly placed. 



Stinginess * 

The quality of being stingy; close 
and penurious; avarice. 



Letters crowded together; final let- 
ters hardly finished; hooks at end of 
strokes; if in cultured hand the 
punctuation is carefully i 
large hand stroke- .ire Coarse; it in 
small hand the strok< - are fine. 



Straightforwardness 

Frank, honest, open ; proceeding in 
a direct manner; undeviating; 
free from prevarication or conceal- 
ment. 



Straight lines— the lines should be 
straight across the nd the 

words also straight on the lift 
o open. 



Strength 

Muscularity; the quality or condi- 
tion of being physically strong; 
mental or moral force; effective- 
ness, or power of endurance: bind- 
ing or conclusive force, as strength 
of will. 



Small letter /> made with tl 
short above and long below, in either 
loop <>r stroke, the longer the V 
Btroke tl i the stgnificati 



l88 G K A P ii o LOG v 



Struggle Against Depression 

To put forth great effort to over- Words that cant downward on the 
come or resist oppression or morbid descending lines more than the lines 
feelings; a succession of efforts to themselves, 
overcome the lowering of the vital 
powers. 

Struggle Between Heart and 
Head 

An effort to decide between the Loop letters at different angles. 
dictates of the mental forces and 
the -> mpathies. 

Stubbornness 

Inflexible in opinion or intention; Main successive words connected. 



not to be moved or persuaded by 
reason; unyielding in character, 



Suavity 
The state or quality of being suave; lirst letter of a word larger than the 

eable smoothness of manner; rot. 

blandness; urbanity; the faculty 
that gives urbanity and a smooth 

easiness in speech and conduct; 
tact. 

SuBiassrvENBSs 

The quality of being submissive; Capitals low; /-bar close down on the 
yielding; obedient; docile; will- stem; strokes not very firm, 
ing or inclined to submit ; humble- 
ness. 



Susceptibility 

The state or quality of being sus- Writing that is very sloping to the 
ceptible to influences or of easily right, 
receiving impressions; the ability 
to receive or be impressed by deep 
emotions or strong feelings. 



GRAPHOLOGY 



Suspicion 
The act of suspecting; conjecture, 
with little or no evidence to sup- 
port it, that something wrong ex- 
ists or is going to happen; unrea- 
sonable imagination or apprehen- 
sion; mistrust; doubt. 






Finals lung only to fill otherwise 

blank spa 

writing; crowded wri b - 

ing lines. 



Sympathy 

A feeling of compassion for an- 
other's sufferings or evils; pity; 
an agreement of affections or 
inclinations or natural tempera- 
ment, which makes persons agree- 
able to one another. 



Right slope; the incur, 
extended; finals never cut si 



System 

Orderly combination or arrange- 
ment ; the state or quality of being 
orderly. 



Every letter legible: neat uniform 
writing; well Bpaced writing; left 

margins even down the page. 



Taciturnity 

Disinclination to 
silence or reserve. 



talk; habitual Letters d and /-with pointed 

upstrokes of these letters at Id 
stem; a and dost 



Tact 

A quick or intuitive appreciation 
of what is fit, proper, or right; 
fine or ready mental discernment 
shown in saying or doing the pro- 
per thing, especially in avoiding 
what would offend or disturb. 



First letter of word larger than real 

of word; small writing I 

-miller than medium: 

form writing; a and 



Talkativeness 

Given to much talking, especially 
idle talk; loquaciousness; com- 
municativeness. 



Small 

small letters ; and / with bi 

I 



:90 (. R a p 11 o i o (. v 



Tardiness 

Slow movement, gait, or pace; not /-bur at left of stem. I and j frequent 



coming at the appointed or expect- ly undotted. 
ed time; dilatorincss; procrastina- 
tion. 



Taste (Architectural) 
Liking for constructive or archi- Simple, graceful, and print-like capi- 
tectural pursuits. tab. 

Taste (Artistic) 

Liking tor the arts — music, poetry; Long loops to lower loop letters; dis- 
aesthetic. connected letters; simple and grace- 

ful capitals. 

Taste (for Color) 

Love for and perception of, color; Simple, graceful, and curved capitals. 
Sense Of shades, tints, hues, and 
blending colors with taste and dis- 
crimination. 

Taste (for Designing) 

Sense of configuration; apprecia- Simple, graceful and print-like 
tion for, and recognition of, shape, tab. 
outlines and contours. 



capi- 



Taste (for Mathematics) 

Mental arithmetic; faculty for Figures well and easily formed, all 
computing numerically; mathe- attempt at ornamentation of figures 
matical talent. absent; careful and precise style of 

writing. 

Taste for Music (Deficient) 

Lack of melody; no musical Small letters angular at bottom of 
ability; no sense of tune; ina- their last down strokes, 
bility to appreciate concord, modu- 
lation, and harmony. 



GRAPHOLOGY 



191 



Taste (Literary) 

Literary discrimination; the abil- 
ity to write; literary accomplish- 
ment; cultured; fondness or lik- 
ing for literary pursuits. 



Taste (Mechanical) 
Constructive talents. 

Taste (Poetic) 

A liking for poetry and aesthetics. 



Taste (Simplicity of) 
Simple tastes. 

Teachableness 

Capable of being, and willing to be, 
taught; an aptness for learning; 
docility. 



writing; Bmalkr 
urn; variable >ize of let© 
d; Gn punctuati 

larger hand than medium, tht 

are variable In use, hastil) 

written, diffused and unevenh 
on the page; very plain capil 
cultured hand only. 

Original methods of making connec- 
tions. 



Small letter w round' d 
by the "lasso" stroke; 
loop letters. 



empha 



Capitals made by enlarging 

letters. 



Words not connected; cross strokes 
never pointing downward; capitals 
never too high; words well s\ 



Telegrapher's Hand 

Style of writing acquired by tele- 
graph operators after long practice 
at "receiving." 



Words 



connected b> like 



Temper 

Heat of mind or passion; angry 
excitement; disposition to become 
angry. 



Usually in the angular hand, 
/-bar above stem, 
flying off Btem to the rqtfit 



Tenacity 

Tenaciousness; firmness or per- Angular writing; hooks at a 

sistency, as of purpose; retentive- final strol 
ness of memory. 



19: 



GRAPHOLOGY 



Tenderness 
The quality of being tender or 
merciful in any slum-. 



The right slope. 



TllIKYIslINESS 

Addicted to the practice of theft; 
given to stealing; partaking of the 

nature of theft, as a thievish ad- 
vantage. 



Small letters constantly varying in 
si/c; letters close together; writing 
never extended; lines irregular; lines 
irregularly spaced; hooks at end of 
tinal Btrokes; base line wavy; small 
letters a and o tightly closed. 



Thoroughness 
Completeness; the quality of being 
thorough, marked by careful at- 
tention throughout; leaving noth- 
ing undone. 



Tendency to small writing; small 
letters low; punctuation carefully 
placed. 



Thoughtfulnbss 

State of being thoughtful; mind- 
ful; attentive; careful; full of, 
busied with, or given to, thought; 
meditation; contemplative. 



Punctuation carefully placed. 



Thoughtlessness 

Manifesting lack of thought or 
care; lacking ability to think; 
dullness. 



Diffused writing; punctuation care- 
lessly placed; small letters a and o 
open. 



Thrift 

Care and prudence in the manage- 
ment of one's resources; economy; 
frugality. 



Letters close together; no margins; 
punctuation carefully placed; neat, 
uniform writing. 



Tidiness 

Neatness and order; cleanliness; 
proper arrangement; free from 
any sign of neglect ; orderly dispo- 
sition or habit. 



Neat writing; lines well spaced 
bar carefully placed across stem. 



G R A P II o L (i V 



Time 



To adapt to the time or the occa- i gof pen; letter 

sion. The ability to comprehend 
the laws of time; to understand 
metre and rhythm, as in music and 
harmony. 



Timidity 
Want of courage or boldness to Finals descending 
face danger or publicity; timor- 
ousness; fearfulness. 



Tranquillity 

The quality of being tranquil; j-dots and periods round, 
freedom from, or superior to, all 
disturbing influences; calmness. 

Trickery 

Artifice; stratagem; deception; Lines irregular; small k ■•• 
cheating; cunning. stantly varying in size and poii 

at top; finals never ascending; a and 

o closed. 

Triviality 

The state or quality of being tri- Words close together; small 1« 
vial; interested in trifles; low, very low (not meaning small writi 

petty ability or wit; pettiness; un- 
scholarly. 



Trust 

A confident reliance of the mind Finals not used to fill 
on the integrity, veracity, justice, blank Bpa 
or other sound principle of another 
person. 

Trustworthy 
That may be depended upon; Straighl lines; Btmpk unpr 
worthy of confidence; reliable. tfriti 



191 



G R A l» II o L O (i V 



Truthfulness 

Habitually speaking the truth; 
veracious; reliable; accurate; can- 

didness; honesty. 

Tune 
Order; right mood; to adapt to or 
put in accord with; in harmony 
with. 



Lines straight; small letters equal 

size; increasing size of letters, the 
last letter being larger than the first; 
a and o open. 

Small letters curved at the bottom of 
their last down strokes in each word; 

long loops. 



Unambitious Nature 

Without ambition. 

SSUMING 

Making no assumption of personal 

superiority or worth; making no 
pretentions; modest; humble. 



Cross strokes descending; /-crossing 
weakly done. 



Fine writing; no shading; plain, 
Bimple formation of letters without 
regard lor appearances; well-spaced 
lines. 



LANCED 

Not in a state of equipoise or 
equilibrium; lacking mental bal- 
ance; unsteady; unsound; erra- 
tic. 



I NIMAGINATIVE NATURE 

Limited in the powers of imagina- 
tion. 



Uneven writing; lines irregularly 
spaced; third or last stroke of capital 
M higher than the first stroke; dif- 
fused hand, words straggling or 
spread over the line; a and o open. 



Upper strokes of letters short; /-bar 
never above stem. 



Unobservant Nature 

The faculty of observing 
developed or strong. 



not /-bar very long. 



Untruthfulness 
The quality or character of being 
untruthful; want of veracity; de- 
ceitfulness. 



Lines irregular; small letters con- 
stantly varying in size; a and o 
tightly closed; small letter 5 closed 
or tied to upstroke. 



G R A P H OLOG V 



Uprightness 

The quality or state of being up- 
right; morally correct, just, and 
honest; adhering to rectitude. 






Urbanity 

Refined or elegant courtesy; suav 
ity; politeness; amiability. 



Plain, simple writing without flour- 
ish; a and o open; I 

d with high -trni. 



Letters extended; capitals I 

high; style not eccentric; rn and ;; 

like w and it: down Bt 

rounding up to left rather than 
pointed to right. 



Y AC ILLATION 

Fluctuation of mind 
ness. 



changeable- Style constantly changing; urn 
writing; straggling hand; vai 
size of letters. 



Vanity 

To be vain; a feeling of shallow 
pride, manifested in a small way 
and on slight grounds; inordinate 
self-esteem, conceit. 



Capitals too high; flour; 
close together. 






Veneration 

The feeling of one who looks upon 
or treats with honor the deference 
due to something noble, dignified, 
or sacred, especially age or rank. 



Ri-ht slope; capitals low; down 

- light; fine writing; n> i 

ing. 



Versatility 

The character or faculty of turn- 
ing with ease from one occupation 
or task to another. 



Finals concave; 

ters; horizontal lines; plain 

tals. 



Violence 

The quality, character, or state o\ 
being violent, either in a physical 
or moral sense. 



Small letters Constantly 

size; ungraceful -■ riting; 

-ruled; n 

capitals ungra< eful ai 



196 



GRAPHOLOGY 



Virility 

The state, quality, or character of 
being virile; manliness; quality 
or action. 

Vivacity 

Yivaciousness; liveliness; spright- 
liness of temper or behavior. 



Volubility 

Readiness or fluency in speech. 

Voluptuousness 
The state or quality of being volup- 
tuous; sensual gratification; in- 
dulgence in pleasures or luxuries — 
sensuous ones. 



Normal, steady hand; down strokes 
shaded and firm; lower loop letters 
long; p long below and short above. 



Letters hurriedly written, some only 
half formed; small letters t and d 
looped; letters extended; m and n 

like W, 11; angularity of writing. 



Upper loop letters long; d and t with 
wide loops, 



Writing slowly drawn out: 
strokes muddy. 



down 



Vulgarity 

Low condition in life; common- 
ness; lack of refinement in conduct 
or speech. 



Capitals complicated and ungrace- 
ful. 



Want OF DIGNITY 
Lacking in dignity. 



Down strokes convex. 



Wastefulness 

Expending or using lavishly or 
prodigally; extravagance. 



Letters widely spaced ; wide margins. 



Watchfulness 

Full of care or vigilance; careful 
to observe; cautious. 



Dashes in place of periods or the 
occasional use of dashes for periods. 



Weak Will 

Not having strong will power. 



Strokes weak, variable size of letters; 
/-bar weakly crossing the stem or to 
left of it. 



GRAPHOl <) 






Will Power 

The power of controlling one's own 
movements and internal states, 
feelings, and thoughts by con- 
scious, deliberate choice; the fa- 
culty of self-determination; direc- 
tive effort; strong determination; 
practical enthusiasm; energy of 
character. 

Willfulness 

A spirit of unyielding determina- 
tion; stubbornness; self-will; ten- 
dency to wildness; waywardness. 

Wit 

Humor; keen, sudden, brief per- 
ception of the incongruous or 
ludicrous. 

Worry 

State of perplexing care, anxiety, 
or annoyance; vexation; fretful- 
ness. 



Yielding Nature 

The act of one whose nature is 
yielding. Acquiescence or com- 
plaisance; surrender. 



Writi: 

ascending lines that an 
down strokes that are shad 
consciously shaded); /-bar firm and 

■ in or careful] 
deliberatelj m, <, r 

pointing upward across the item, or 
heavily dashed to right oi 
erally in vertical writing. 



Shaded writing, usually linconc 
final stroke of small letter d below 
line; final stroke of small letter t 
below line. 



Finals turned up; Inters hui 
written and only half formed; 
ly in the diffused hand; M>a; 
scroll shape. 



Lines that descend with words mere 
descending than tin- tin* 
made of elongated dashes, short and 
weakly struck; punctuation 
fully placed. 

Strokes weak; no hooks at < 
strokes. 



Zeal 

Passionate ardor for a cause or, 
less often, intense eagerness; en- 
thusiastic devotion; fervor. 



I'pjH-I 

geti ;dashes never 
down stroke 









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